Tie-c.  m? 


"S'W 


ETCHING  AND  ETCHERS 


ETCHING  & ETCHERS 


BY 

PHILIP  GILBERT  HAMERTON, 

AUTHOR  OF  THE  ‘ INTELLECTUAL  LIFE,’  ETC. 


ILLUSTRATED. 


BOSTON : 

ROBERTS  BROTHERS. 

1888. 


University  Press  : John  Wilson  & Son- 
Cambridge. 


FIFTH  EDITION. 


Weet  gij  wat  etsen  is  ? — Het  is  flaneeren 
Op ’t  koper ; ’t  is  in ’t  zomerschemeruur 
Met  malsche  vedelsnaren  fantaseeren. 

’t  Zijn  hartsgeheimtjes,  die  ons  de  natuur 
Vertrouwt,  bij ’t  dwalen  op  de  hei,  bij  ’t  staren 
In  zee,  naar ’t  wolkjen  in  het  zwerk,  of  waar 
In’t  biezig  meer  wat  eendjes  spelevaren ; 

’t  Is  duivendons  en  klauw  van  d’  adelaar. 

Homeros  in  een  nootje,  en  tien  geboden 

Op ’t  vlak.  eens  stuivertjes ; — een  wensch,  een  zucht, 

Gevat  in  fijn  geciseleerde  oden. 

Een  ras  gegrepen  beeldje  in  vogelvlucht 
’t  Is  op ’t  gevoelig  goudkleur  koper  malen 
Met  d’  angel  eener  wesp  en ’t  fulpen  stof 
Der  vlinderwiek,  gegloeid  van  zonnestralen  ; 

De  punt  der  naald  die  juist  ter  snede  trof 
Wat  in  des  kunstnaars  rijke  dichterziel 
Uit  fantasie  en  leven  samenviel. 


C.  Vosmaer. 


Know  ye  what  etching  is  ? It  is  to  ramble 
On  copper ; in  a summer  twilight’s  hour 
To  let  sweet  Fancy  fiddle  tunefully. 

It  is  the  whispering  from  Nature’s  heart, 

Heard  when  we  wander  on  the  moor,  or  gaze 
On  the  sea,  on  fleecy  clouds  of  heaven,  or  at 
The  rushy  lake  when  playful  ducks  are  splashing ; 
It  is  the  down  of  doves,  the  eagle’s  claw ; 

’Tis  Homer  in  a nutshell,  ten  commandments 
Writ  on  a penny’s  surface ; ’tis  a wish, 

A sigh,  comprised  in  finely-chiselled  odes, 

A little  image  in  its  bird’s-flight  caught 
It  is  to  paint  on  the  soft  gold-hued  copper 
With  sting  of  wasp  and  velvet  of  the  wings 
Of  butterfly,  by  sparkling  sunbeams  glowed. 

Even  so  the  etcher’s  needle,  on  its  point, 

Doth  catch  what  in  the  artist-poet’s  mind 
Reality  and  fancy  did  create. 


Translated  by  HoLDJL 


TO 


FRANCIS  SEYMOUR  HADEN. 

H ERE  is  a book  written  to  increase  the  public  interest  in 
an  art  we  both  love ; and  I dedicate  it  to  you  because, 
in  the  more  difficult  way  of  practical  demonstration,  you  have 
well  helped  the  same  cause.  It  may  be  a useful  service  to 
take  a pen  and  tell  a somewhat  indifferent,  or  otherwise  inte- 
rested public,  how  great  an  art  etching  is  ; but  it  is  a far 
higher  achievement  to  take  an  etching-needle  and  compel 
attention  by  the  beauty  of  actual  performance.  The  recep- 
tion your  etchings  met  with — a reception  unprecedented  in  the 
history  of  the  art — must  have  been  gratifying  to  your  feelings 
as  an  artist ; but  I am  sure  that  I interpret  your  sentiments 
justly,  in  supposing  that  you  felt  a still  keener  and  nobler 
pleasure  than  that  which  attends  any  merely  personal  success. 
You  have  the  satisfaction  of  knowing  that  a great  art,  hitherto 
grievously  and  ignorantly  neglected,  has,  by  your  labours, 
received  an  appreciable  increase  of  consideration  ; and  that, 
as  a consequence  of  the  celebrity  of  your  works,  many  have 
become  interested  in  etching,  who,  before  their  appearance, 
were  scarcely  even  aware  of  its  existence.  It  is  rather  with 
reference  to  this  result  of  your  labours  than  to  their  purely 


X 


DEDICATION. 


artistic  value  that  I dedicate  this  book  to  you,  though,  at  the 
same  time,  it  may  be  right  to  add  briefly  here,  what  I have 
said  more  at  length  elsewhere,  that  of  all  modern  etchers  you 
seem  to  be  the  most  completely  in  unison  with  the  natural 
tendencies  of  the  art  How  much  this  implies,  and  what  warm 
approval  may  be  expressed  in  this  moderate  way,  the  reader 
will  see  elsewhere. 


PREFACE. 


^ | ' H E first  edition  of  this  work  has  been  for  some  time  ex 
hausted,  and  copies  of  it  are  only  to  be  had  occasionally 
from  dealers  in  rare  books,  at  fancy  prices.  In  the  present 
edition  the  book  takes  its  permanent  form,  for  it  is  stereotyped, 
and  care  has  therefore  been  taken  about  the  revision  of  it. 
Besides  revising  what  was  already  written,  I have  brought 
my  work  down  to  the  latest  dates  by  adding  notices  of  the 
most  recent  etchings  of  importance,  and  by  explaining  the 
newest  practical  improvements  in  the  craft  of  etching  itself 
which  are  of  proved  utility  and  accepted  by  eminent  workmen. 
The  present  edition  contains,  indeed,  more  than  two  hundred 
pages  of  entirely  new  matter,  so  that  it  may  be  considered  as 
a supplement  to  the  first.  There  are  also  eight  illustrations 
which  did  not  appear  in  the  first  edition. 

It  is  necessary  to  give  a few  words  of  explanation  about 
the  plates.  The  book  was  originally  illustrated  with  impres- 
sions from  original  old  and  modern  coppers  which  were  got 
together  temporarily  by  dint  of  good  luck,  considerable  ex- 
pense, and  infinite  personal  trouble.  It  was  impossible  to 
purchase  them,  and  when  we  had  printed  the  number  of  copies 
necessary  for  our  first  edition,  we  were  obliged  by  our  contract 
to  return  the  plates  to  their  owners.  We  could  not,  if  we 


xii 


PREFACE. 


would,  get  those  coppers  together  again,  and  it  has  been 
thought  desirable  that  the  present  edition  should  be  cheaper 
than  it  could  have  been  with  magnificently  abundant  illustra- 
tion. It  was  therefore  finally  decided  that  the  etchings  should 
now  be  of  minor  importance,  and  that  they  should  be  given 
not  at  all  as  “ embellishments,”  but  simply  to  make  the  text 
more  intelligible.  As  an  instance  of  this  may  be  mentioned  the 
plate  from  Turner,  copied  from  the  “ Little  Devil’s  Bridge.” 
It  does  not  exhibit  Turner’s  power  of  composition,  for  it  is 
only  part  of  a subject ; it  cannot  show  his  mastery  over  light 
and  shade,  for  the  mezzotint  which  gave  the  light  and  shade 
is  omitted  ; but  it  exhibits  Turner’s  way  of  drawing  and  biting 
his  organic  lines,  and  that  is  why  it  is  given  in  this  volume. 
For  this  particular  purpose  it  is  positively  more  useful  than 
the  original,  since  in  the  original  the  lines  are  much  obscured 
by  dark  mezzotinting,  which  was  applied  to  the  plate  by 
Charles  Turner  after  J.  M.  W.  Turner  had  etched  it.  To  make 
the  lines  very  plain,  the  printer  has  been  told  to  print  as  simply 
and  clearly  as  possible,  merely  that  the  reader  might  see  what 
Turner’s  lines  were  like.  The  etchings  from  other  masters  are 
in  almost  every  instance  portions  of  plates  selected  for  some 
special  reason,  and  not  to  make  the  book  look  pretty.  It  was 
suggested  that  by  one  of  the  remarkable  new  photographic 
processes  sufficiently  accurate  copies  of  etchings  might  have 
been  given  at  a cheap  rate  ; but  it  seemed  that  in  a book  of  a 
practical  kind  like  this  it  was  very  desirable  that  the  reader 
should  have  plates  really  produced  by  the  processes  of  etching 
which  are  described  and  so  often  alluded  to  in  its  pages.  I 
therefore  took  the  trouble  to  copy  portions  of  plates  by  various 


PREFACE. 


xiii 


masters  (a  very  heavy  piece  of  work,  though  the  result  of  it 
looks  so  slight);  and  as  students  of  etching  can  learn  more  from 
real  plates,  when  they  know  how  they  have  been  bitten,  than 
from  any  quantity  of  vague  verbal  explanation  about  getting 
lines  “ dark  ” or  “ pale,”  I have  also  published  my  own  private 
registers  of  biting.  Reviewers  sometimes  say  very  unkind 
things  of  me  for  giving  explanations  of  this  technical  kind, 
which  they  neither  know  nor  care  anything  about,  but  art 
students  write  to  express  their  gratitude,  and  only  beg  that 
the  explanations  may  be  made  still  clearer  and  more  precise. 
Between  the  two  I cannot  hesitate.  The  satisfaction  of  being 
in  some  measure  useful  to  real  workers  is  so  substantial  a 
satisfaction,  that  it  far  outweighs  any  momentary  annoy- 
ance which  may  be  inflicted  by  the  sneers  of  an  ill-natured 
reviewer  who  may  happen  to  be  vexed  with  me  for  knowing 
more  about  my  own  subject  than  he  possibly  can  know. 
At  the  same  time  hearty  thanks  are  offered  to  many  critics 
who  helped  this  book  when  it  first  appeared,  and  whose 
cordial  expressions  of  approbation  no  doubt  largely  contri- 
buted to  its  success. 

It  was  written  originally  with  a view  to  certain  purposes 
of  a kind  that  may  be  called  permanent,  and  others  which 
were  only  temporary.  I wished  to  help  in  transmitting  the 
good  and  sound  tradition  of  etching — this  was  the  permanent 
purpose  ; but  I wished  also  to  exercise  some  influence  of  a kind 
that  might  be  practically  useful  on  the  work  of  the  younger 
men  at  the  present  time  ; and  this,  in  a certain  sense,  was  a 
temporary  purpose.  The  best  way  to  do  this  seemed  to  be  an 
outspoken  criticism  of  some  recent  etchers  who  had  influence 


XIV 


PREFACE. 


because  they  were  celebrated  painters.  It  is  a popular  error 
to  imagine  that  because  a man  can  paint  cleverly  he  must  also 
be  able  to  etch.  The  knowledge  of  a painter  has  usually,  it  is 
true,  been  the  magazine  of  material  from  which  eminent  etchers 
have  selected,  by  a high  faculty  of  choice,  what  they  put  into 
their  etchings  ; but  when  this  selecting  faculty  is  absent,  the 
knowledge  of  a painter  ceases  to  be  available  in  this  art.  I 
have  myself  actually  seen  accomplished  painters  trying  what 
they  could  do  on  the  copper,  and  seen  them  puzzled,  uncertain, 
feeble,  though  they  were  anything  but  feeble  with  the  brush. 
“He  has  painted  many  a picture,”  says  one  who  can  etch,  of  a 
painter  such  as  I have  just  alluded  to,  “ and  by  dint  of  search- 
ing with  opaque  materials  has  even  earned  the  reputation,  such 
as  it  is,  of  ‘finish.’  For  the  first  time  he  finds  himself  under 
the  necessity  of  considering  every  stroke.  He  begins,  and  has 
soon  made  a hundred  where  a master  would  have  made  one ; 
but  he  goes  on,  and  at  the  expense  of  many  qualities  which  as 
a painter  he  could  have  held  dear,  he  arrives  at  last.  ‘ How 
finished  ! ’ says  one  ; * How  worthless  ! ’ another — for  the  last 
knows  what  the  first,  possibly,  does  not — that  it  is  one  thing 
to  cover  a plate  with  work  until  the  effect  has  been  obtained, 
and  another  to  obtain  it  with  little,  or  rather  with  the  appear- 
ance of  little.  Etching  is  not  painting,  but  an  art  (though  in 
close  alliance  with  painting)  in  all  respects  distinct.  He  who 
so  mistakes  its  end,  intention,  and  scope,  as  to  overlay  his  work 
till  all  brilliancy  and  transparence  have  gone  out  of  it,  is  con- 
founding two  things,  and  only  labouring  to  produce  opacity.” 
Holding  these  opinions,  I criticised  some  painters  severely  as 
etchers,  whilst  admiring  their  pictures  very  heartily  for  their 


PREFA  CE. 


xv 


own  merits  ; but  some  of  the  severer  of  these  criticisms  are 
withdrawn  from  the  present  edition,  as  the  book  has  now  taken 
its  permanent  form,  and  it  is  not  desirable  to  perpetuate 
much  criticism  of  that  kind,  however  just  and  necessary  it  may 
be  when  first  written.  Thus  the  chapter  on  David  Roberts  is 
withdrawn  : it  was  inserted  originally  because  his  very  poor 
and  unintelligent  work  in  etching  had  been  injudiciously  held 
up  as  a model.  Mr.  Holman  Hunt  also  came  in  for  a page 
of  criticism  severe  enough  to  convey  the  impression,  as  I 
learned  afterwards,  of  some  personal  vengeance  or  animosity. 
As  it  happens  that  I have  always  felt  a great  respect  for  Mr. 
Hunt’s  strength  of  resolution  and  honesty  of  purpose  in  his 
career  as  a painter,  and  also  for  his  accomplished  skill  (without 
mentioning  his  higher  gifts,  which  cannot  be  dealt  with  in  a 
parenthesis),  I am  glad  to  put  an  end  to  this  misunderstand- 
ing by  withdrawing  the  page  in  question.  A friend  and  corre- 
spondent, who  is  himself  one  of  the  finest  etchers  in  Europe, 
told  me  that  he  thought  highly  of  a small  etching  by  Mr. 
Holman  Hunt,  representing  an  Egyptian  scene  with  the  pyra- 
mids, and  the  reader  may  rely  upon  his  opinion. 

A well-known  English  Academician,  not  an  acquaintance 
of  mine,  wrote  to  me  to  offer  a piece  of  unasked-for  advice, 
which  was  to  avoid  mentioning  living  men  in  my  writings, 
because,  he  said,  “it  savours  of  cliqueism.”  In  this,  however, 
as  in  other  matters,  a writer  must  exercise  his  own  judgment. 
Much  of  the  sort  of  usefulness  aimed  at  in  the  present  volume 
would  not  be  attained  if  living  artists  were  omitted  from  its 
pages.  My  work  with  reference  to  living  men  consists  almost 
always  in  drawing  public  attention  to  their  merits,  and  it  seems 


XVI 


PREFACE. 


better  that  this  should  be  done  for  them  whilst  they  are 
alive,  and  can  reap  the  benefit  of  any  increase  of  reputation, 
than  after  they  are  dead,  when  praise  will  be  of  no  use  to 
them.  I belong  to  no  clique  whatever,  and  I never  have 
belonged  to  any  clique.  Most  of  my  work  has  been  done  in 
a foreign  country,  and  when  in  London  or  Paris  I have  gene- 
rally been  much  too  busily  occupied  to  have  time  for  the 
cultivation  of  cliqueish  sentiments.  The  volume  the  reader 
holds  in  his  hand  is  indeed  a sufficient  reply  to  such  an  accu- 
sation as  this,  for  it  praises  with  equal  warmth  etchers  of  the 
most  opposite  qualities  and  schools  when  their  work  has 
seemed  to  be  good  in  its  own  kind. 

Another  accusation  which  has  been  to  some  extent  cir- 
culated both  in  the  English  and  American  press  may  deserve 
some  words  of  answer.  It  has  been  said  of  my  writings  that 
they  exercise  a bad  influence  by  exalting  mechanism  above 
mind,  because  they  happen  to  contain  a good  deal  of  tech- 
nical information.  It  is  quite  true  that  technical  matters 
always  seem  to  me  extremely  interesting,  as  they  do  to  all 
who  are  not  prevented  by  sheer  ignorance  from  entering  into 
such  questions  ; all  artists  delight  in  them,  and  even  in  their 
difficulties,  as  mathematicians  delight  in  their  problems,  and 
chess-players  in  theirs.  But  I have  never  regarded  technical 
skill  as  anything  more  than  a means  of  mental  expression, 
and  I have  at  all  times  earnestly  and  energetically  maintained 
the  supreme  importance  of  mental  power  in  art,  and  as 
energetically  condemned  the  base  mechanical  skill  which  is 
uninformed  by  noble  thought  and  feeling.  Those  critics, 
therefore,  who  have  accused  me  of  exalting  mechanism  above 


PREFACE. 


XVII 


mind  say  what  is  contrary  to  the  truth,  and  are  guilty  either 
of  unpardonable  presumption  in  speaking  of  a writer  they 
have  not  read,  or  else  of  yet  more  unpardonable  dishonesty 
in  wilfully  misrepresenting  him.  My  teaching  about  art  sub- 
ordinates everything  to  the  mind  of  the  artist,  even  that  truth 
to  nature  which  a modern  superstition  regards  as  if  it  were 
something  sacred.  The  following  extracts  from  writings 
which  have  been  before  the  public  for  years  are  sufficient 
evidence  of  this,  and  the  reader  will  find  more  recent  matter 
in  the  present  volume,  especially  in  the  chapter  on  the 
Revival  of  Etching  in  England,  which  maintains  and  confirms 
the  same  principles. 

“ The  art  of  etching  has  no  mechanical  attractiveness.  If 
an  etching  has  no  meaning  it  can  interest  nobody;  if  its 
significant  lines  are  accompanied  by  many  insignificant  ones, 
their  value  is  neutralised.” — Etching  and  Etchers , book  L 
ch.  iii. 

“ A great  etching  is  the  product  of  a grandly-constituted 
mind  ; every  stroke  of  it  has  value  exactly  proportionate  to 
the  mental  capacity  of  the  artist ; so  that  a treatise  on  etch- 
ing is  necessarily  a treatise  on  the  mental  powers  of  great 
men.” — Etching  and  Etchers , book  i.  ch.  vii. 

“ Above  all,  it  should  be  well  understood  that  etching  is 
not,  as  some  imagine,  a fit  pastime  for  small  minds  ; but  that, 
on  the  contrary,  its  great  glory  is  to  offer  the  means  of 
powerful  and  summary  expression  to  the  largest.  — Etching 
and  Etchers , book  i.  ch.  vii. 

“ The  etcher  needs,  no  doubt,  some  manual  skill,  some 
patience,  and  a moderate  amount  of  care,  but  these  avail  him 

b 


xviii 


PREFACE. 


nothing  if  they  are  accompanied  by  the  engraver’s  coldness. 
The  one  capacity  which  makes  all  his  other  powers  available 
is  the  capacity  for  passionate  emotion.” — Etching  and  Etchers , 
book  i.  ch.  xii. 

“ What  makes  a good  etching  so  peculiarly  precious  is 
that  it  gives  us  meaning  severed  as  widely  as  possible  from 
mere  handicraft.  It  is  a lump  of  gold  dug  out  of  the  artist’s 
brain,  and  not  yet  alloyed  for  general  circulation.  But  when 
artists  thus  trenchantly  sever  mechanism  from  mind,  and  offer 
mind  by  itself,  they  discover,  of  course,  that  it  is  not  a very 
saleable  commodity.” — Signed  article  in  the  Fine  Arts  Quar- 
terly Review  for  January  1864. 

^ “ So  far  from  being  the  most  mechanical  kind  of  engraving, 

etching,  as  we  understand  it,  is  the  least  mechanical,  because 
the  true  etchers  never  think  about  mechanical  perfections  at 
all,  using  lines  simply  for  the  expression  of  artistic  thought.” 
— The  Etcher  s Handbook,  ch.  xviii. 

“We  affirm  that  an  etched  line,  as  a good  etcher  draws  it, 
is  less  mechanical  than  a burin  line,  since  its  modulations, 
produced  by  the  operation  of  the  intellect,  or  feeling  of  the 
artist,  are  more  numerous  and  delicate,  because  the  tool  is 
more  obedient.  The  anxiety  to  attain  mechanical  perfection 
would  probably  injure  an  etcher  by  diminishing  the  spon- 
taneousness of  his  expression.”  — The  Etcher's  Handbook , 
ch.  xviii. 

“The  true  finish  lies  in  the  intensity  and  successfulness 
of  the  mental  act,  and  that  may  be  proved  quite  as  much 
by  selection  and  omission  as  by  hand -labour.  Always 
endeavour,  in  etching,  to  express  your  thought  in  as  few 


PREFACE. 


xix 


lines  as  may  be,  and  to  put  as  much  meaning  into  each  of 
those  few  lines  as  it  can  possibly  be  made  to  convey.  The 
real  finish  in  etching  resides  there.”—  The  Etcher's  Handbook, 
ch.  xxii. 

“The  qualities  of  autograph  would  be  sacrificed  if  me- 
chanical exactness  had  to  be  obtained  at  all  costs  . . 

autograph  is  a mental  expression  in  itself.” — Thoughts  about 
Art , ch.  xxiii.  note. 

It  is  always  a mistake  to  attribute  too  much  importance 
to  manual  skill  in  etching,  or  in  any  other  of  the  great  arts. 
When  there  is  the  true  understanding  of  nature,  and  the  true 
artistic  sentiment,  manual  skill  usually  comes  with  practice, 
and  the  greatest  artists  never  trouble  themselves  about  it, 
warning  their  pupils  against  anxiety  on  that  score. — Etching 
and  Etchers , book  ii.  ch.  ii. 

It  would  be  easy  to  go  on  accumulating  extracts  of  this 
kind,  but  it  is  not  necessary.  Enough  has  been  quoted  to 
show  how  audaciously  dishonest  it  is  to  accuse  me  of  setting 
handicraft  above  spiritual  power  in  the  fine  arts. 


July  1875. 


CONTENTS, 


\ 


BOOK  I. 


flofocrs  ana  ©ualittes  of  tfje  3rt. 

CHAPTER  i. 

Etching  compared  with  other  Arts 

CHAPTER  II. 

Difficulties  and  Facilities  of  Etching  . 

CHAPTER  III. 

The  Popular  Estimate  of  Etching 


CHAPTER  IV. 

The  Influence  of  Connoisseurship 

CHAPTER  V. 

Criticism  and  Practical  Work 

CHAPTER  VI. 

Favourable  and  Unfavourable  Artistic  Conditions 

CHAPTER  VII. 

Comprehensiveness 

CHAPTER  VIII. 


*AjGB 

I 


22 


2 7 


31 


36 


40 


43 


Abstraction 


47 


xxii 

CONTENTS. 

Selection 

CHAPTER  IX 

PAGB 

Sensitiveness 

CHAPTER  X 

. S3 

Emphasis 

CHAPTER  XL 

• •••••••* 

. 56 

Passion  . 

CHAPTER  XII. 

59 

Feankness  . 

CHAPTER  XIII. 

61 

CHAPTER  XIV. 

Motives  . 

CHAPTER  XV. 

66 

BOOK  II. 

®fje  Bute!)  anti  otjjer  Schools. 

CHAPTER  L 

Albert  Durer 

7i 

Rembrandt 

CHAPTER  II. 

. 73 

CHAPTER  III. 


Ostade  and  Bega 


97 


CONTENTS.  xxiii 

CHAPTER  IV. 

PACB 

Berghem,  Potter,  Dujardin 

CHAPTER  V. 

Vandyke  and  Hollar 107 

CHAPTER  VI. 

Canaletti,  Ruysdael,  and  OTHERS Ill 

CHAPTER  VII. 

Zeeman 119 

CHAPTER  VIII. 

Goya 123 

CHAPTER  IX. 

JONGKIND 128 

CHAPTER  X. 

Van  S’gravesande *33 

CHAPTER  XI. 

Modern  .Germans  and  others 138 

BOOK  III. 

®jje  Jrraclj  School. 

chapter  1. 

The  Revival  of  Etching  in  France M7 

CHAPTER  II. 

. i«57 


Claude 


XXIV 


CONTENTS. 


CHAPTER  III. 

PAGB 

Callot  and  Boissieu 161 

CHAPTER  IV. 

Meryon  . 167 

CHAPTER  V. 

Lalanne 177 

CHAPTER  VL 

JACQUEMART I83 

CHAPTER  VII. 

Charles  Jacque i**9 

CHAPTER  VIII. 

Daubigny  . 195 

CHAPTER  IX. 

Appian 202 

CHAPTER  X. 

Chifflart 

CHAPTER  XI. 

Lalauze,  Veyrassat,  Martial 212 

CHAPTER  XIL 


Various  French  Etchers 


220 


CONTENTS. 


XXV 


BOOK  IV. 

®he  SrijooL 

CHAPTER  i. 

>AC* 

The  Revival  of  Etching  in  England 239 


Turner  . 

CHAPTER  II. 

Wilkie  and  Geddes 

CHAPTER  III. 

Ruskin  . 

CHAPTER  IV. 

• ' 278 

Whistler 

CHAPTER  V. 

Haden  . 

CHAPTER  VI. 
CHAPTER  VII. 

Cruik shank  and  Doyle 3l6 


Samuel  Palmer  . 

CHAPTER  VIII. 



CHAPTER  IX. 

Cope,  Horsley,  Hook 

CHAPTER  X 

34* 

XXVI 


CONTENTS. 


CHAPTER  XI. 

PAGB 

Creswick,  Redgrave,  Ridley 345 

CHAPTER  XII. 

Tayler,  Ansdell,  Knight 350 

CHAPTER  XIII. 

Chattock  and  George 353 

BOOK  V. 

®Ije  Interpreters  of  Painting,  anti  (Capping  in 
facsimile. 

chapter  1. 

The  Interpreters  of  Painting 303 

CHAPTER  II. 

On  Copying  Etchings  in  Facsimile 398 

APPENDIX. 

Practical  liotes. 

chapter  1. 

The  Plate 4°7 

CHAPTER  II, 

The  Needle 4°9 

CHAPTER  III. 

Grounds  and  Varnishes 


CONTENTS. 


XXVll 


CHAPTER  IV. 

The  Acid  Bath 

CHAPTER  V. 

The  Laboratory  and  Printing-room  . 

CHAPTER  VI. 

The  Roller  and  its  Uses 

CHAPTER  VII. 

Biting 

CHAPTER  VIII. 

Stopping-out 

CHAPTER  IX. 


Auxiliaries 

CHAPTER  X. 

The  Author’s  Positive  Process 

CHAPTER  XI. 

The  Chemistry  of  Etching 

CHAPTER  XII. 


Dry-point 


CHAPTER  XIII. 


Printing 

CHAPTER  XIV. 

The  Interpretation  of  Nature 


PAGE 

414 


415 


420 


423 


429 


433 


435 


436 


440 


441 


445 


CATALOGUE  INDEX 


447 


LIST  OF  ILLUSTRATIONS. 


COVER  AND  TITLE-PAGE. 

I.  Designs  on  the  back  of  this  volume,  above  and  below  the  title. 

These  designs  of  Plovers  and  Teal  are  from  an  etching  by  M.  Bracquemond, 
called  Vanneaux  et  Sarcelles  (see  page  225).  They  are  as  faithful  an  interpretation 
of  Bracquemond’s  manner  as  the  material  would  permit  They  are  intended  to 
show  the  appearance  of  an  etched  plate  before  it  is  bitten,  the  black  representing 
the  smoked  black  ground  in  which  the  etching  is  drawn,  and  the  gold  the  lines  of 
bare  copper,  which  are  afterwards  to  come  black  in  the  printing.  All  that  is  left 
black  on  the  plate  is  white  in  the  printed  proof. 

The  finer  lines  in  this  drawing  are  purposely  run  together  into  simple  broad 
lines,  because  they  would  not  have  printed  distinctly  in  the  gold. 

2.  Design  in  gold  on  black  on  the  side  of  the  voluine. 

This  represents,  as  accurately  as  the  materials  would  permit,  the  appearance 
of  part  of  Turner’s  plate  called  the  Little  Devil's  Bridge  (see  page  272),  when  he 
had  just  drawn  the  lines  on  the  plate.  The  black  represents  the  black  smoked 
etching  ground,  and  the  gold  the  copper  as  it  was  laid  bare  by  the  etching  point 
The  block  with  which  this  is  stamped  on  the  cover  was  reproduced  photographi- 
cally from  an  off-track  (see  page  444)  from  my  copy  of  Turner’s  lines,  which  is 
given  at  page  272.  It  is  more  nearly  accurate  than  any  other  manner  of  reproduc- 
tion would  have  permitted,  but  the  lines  are  for  the  most  part  broader  than 
Turner’s  lines  on  the  copper  must  have  been,  and  they  are  all  much  less  pure  and 
clear,  as  the  reader  will  easily  see  by  comparing  them  with  those  in  my  etching 
after  Turner.  However,  they  have  always  the  true  direction,  and  the  design  may 
be  of  use  in  preparing  the  eye  of  a beginner  for  the  appearance  of  a drawing  on 
metal  in  negative,  which  is  all  that  it  is  intended  for. 

3.  Woodcut  on  the  Title-page. 

This  is  a copy  on  wood,  by  Mr.  Cooper,  of  one  of  Rembrandt’s  best  portraits 
of  himself.  It  is,  I think,  the  most  perfect  imitation  of  etching  by  wood  engraving 
that  I ever  saw.  Mr.  Cooper  wisely  selected  a plate  which  could  be  reproduced 
by  accurately  placed  dots  and  lines,  and  which  did  not  exhibit  those  qualities  of 
texture  that  cannot  be  imitated  by  wood-engraving. 

The  portrait  here  copied  is  that  numbered  216  in  M.  Charles  Blanc’s  Cata- 
logue. It  is  called  “ Rembrandt  au  bonnet  plat.” 


XXX 


LIST  OF  ILLUSTRATIONS. 


ETCHINGS. 


All  the  etchings  in  this  volume,  with  the  exception  of  plates  IX.  and  XII.,  are 
copied  by  the  author.  / 

Plate  IX.  is  an  original  sketch  from  nature  by  Lalanne,  and  Plate  XII.  is  an 
original  sketch  from  nature  by  the  author. 

PLATE  I. 

The  Corpulent  Beggar,  after  Rembrandt 

• 

OPPOSITE 

PAGE 

. 90 

PLATE  II. 

Portrait  of  Old  Mother,  after  Rembrandt  . 

• 

• 92 

PLATE  III. 

Peasants  Drinking,  after  Ostade  . • 

• 

• IOO 

PLATE  IV. 

Cottage  on  a Shore,  after  Weirotter  • • 

• 

• I 14 

PLATE  V. 

TREES,  after  Waterloo  ...» 

• 

• I l6 

PLATE  VI. 

Boats  near  Shore,  after  Zeeman  . • 

• 

• 122 

PLATE  VII. 

Scene  in  Old  Paris,  after  Callot  • • 

• 

• 164 

PLATE  VIII. 

Palace  of  Justice  and  Bridge,  Paris,  after  Mdryon 

• 170 

PLATE  IX. 

Fribourg,  Switzerland,  by  Lalanne  (original) 

• 

• 182 

PLATE  X. 

Rocks  and  Pines,  after  Turner  . 

• 

• 272 

PLATE  XI. 

Part  of  the  Agamemnon,  after  Haden 

• 

. 308 

PLATE  XII. 

Poplars  and  Oak,  by  P.  G.  Hamerton  (original) 

• 

• 444 

ETCHING  AND  ETCHERS. 


BOOK  I. 

POWERS  AND  QUALITIES  OF  THE  ART. 


CHAPTER  I. 


ETCHING  COMPARED  WITH  OTHER  ARTS. 

I.  WITH  PAINTING  IN  OIL. 

JETTING  aside  the  obvious  difference  in  favour  of  paint- 
ing, that  it  can  represent  colour,  we  find  another 
difference,  scarcely  less  obvious,  in  the  manner  of  inter- 
pretation. The  brush  is  a better  instrument  than  the  point, 
because  less  conventional,  since  it  does  not  necessarily  resort 
to  lines,  and  lines  do  not  exist  in  nature.  So  far,  painting 
is  the  higher  art ; but  it  is  not  quite  so  well  adapted  to  the 
expression  of  transient  thought.  Oil -sketching  may  be 

exceedingly  rapid,  but  the  medium  does  not  under  all 
circumstances  admit  of  memoranda  so  completely  expla- 
natory as  those  which  may  be  obtained  with  the  point.  In 
the  most  valuable  oil- sketching,  that  in  which  the  true 
relations  of  masses  of  colour  are  accurately  preserved,  form 
has  to  be  sacrificed ; and  yet  form  is  usually  more  important 
than  colour  in  the  expression  of  artistic  ideas.  The  very 
presence  of  colour  entails,  in  hasty  work,  the  abandonment 
of  form,  because  in  coloured  art  bad  colour  is  intolerable, 
and  good  colour  is  not  attainable  at  high  speed,  unless  it  is 
made  the  chief  aim  of  the  artist.  When  an  etching  and  an 
oil  picture  are  both  produced  in  the  same  space  of  time, 
the  etching  is  likely  to  contain  a more  delicate  definition  of 
many  interesting  points  of  form  than  the  picture  can.  An 

B 


t 

t 


2 


ETCHING  COMPARED 


elaborate  picture,  the  labour  of  weeks  or  months,  may  con- 
tain more  form  than  any  good  etching,  because  good  etchings 
are  almost 1 always  done  quickly ; but  the  finished  painting 
loses  in  freshness  what  it  gains  in  completion,  and  belongs 
to  a wholly  different  class  of  art.  The  aim  of  a laboured 
picture  is  power  by  accumulation  ; the  aim  of  an  etching  is 
power  by  abstraction  and  concentration.  It  is  certain  that 
some  very  valuable  qualities  in  oil  painting  can  only  be 
attained  by  frequent  correction  and  repainting ; the  work  is 
done  over  and  over  again,  often  scraped  till  the  previous 
work  shows  through,  and  then  the  broken  tints  so  obtained, 
and  which  cannot  be  obtained  in  any  other  manner,  are 
made  available  for  the  expression  of  natural  variety  and 
infinity.  It  will  be  shown  in  the  course  of  this  volume  that 
some  results  of  this  kind  are  more  or  less  attainable  in 
laboured  etching,  but  they  are  not  entirely  in  harmony  with 
the  idea  of  etching  as  an  independent  art.  If  we  remain 
within  the  limits  of  true  etching,  and  then  compare  it  simply 
with  such  oil  painting  as  alone  is  competent  to  convey 
rapid  inspirations,  we  shall  find  that  the  worker  in  oil  is 
obliged  to  sacrifice  much  to  colour  which  the  etcher  easily 
preserves ; and  farther,  that  the  very  heaviness  of  the 
medium,  when  the  painter  sketches  in  thick  colour,  is  an 
obstacle  to  liberty  of  expression  which  the  freely- gliding 
point  avoids.  The  modern  habit  of  sketching  in  varnish  is 
in  some  respects  more  free,  but  the  adhesiveness  of  the 
varnish  often  interferes  with  perfect  liberty,  and  has  to  be 
continually  corrected  by  additions  of  turpentine.  In  this 
method,  as  in  simple  oil  painting,  the  embarrassment  of 
colour  of  course  remains. 

1 The  reader  will  please  notice  the  reserve  implied  by  this  word  almost.  Some 
good  etchers  have  worked  slowly,  and  gradually  completed  their  etchings  by  suc- 
cessive processes.  Justice  will  be  done  to  these  artists  in  their  place. 


WITH  OTHER  ARTS. 


3 


2.  WITH  PAINTING  IN  WATER-COLOUR. 

Water-colour  approaches  more  nearly  than  oil  to  the 
facility  and  freedom  of  etching,  but  even  water-colour  is 
less  direct.  True  water-colour,  in  which  oqaque  pigments 
are  not  resorted  to,  attains  its  end  by  a series,  often  a long 
series,  of  washes.  The  paper  is  subjected  to  treatment  of 
very  various  kinds,  according  to  the  caprice  of  the  indi- 
vidual artist  ; but  most  water-colourists  agree  on  one  point, 
they  do  not  leave  their  first  wash  undisturbed  ; they  either 
sponge  it,  or  rub  it  with  a rag,  or  rub  it  with  a brush,  or 
take  out  whole  patches  of  it  to  paint  afresh  on  the  white 
paper  beneath,  and  these  processes  are  often  repeated  with 
subsequent  washes,  so  that  there  is  a continual  effacing  or 
alteration  of  work  done.  Now  although  etching  admits  of 
correction,  it  is  only  on  condition  of  revarnishing  the  plate, 
and  correction  does  not  enter  into  the  habitual  processes, 
but  is  resorted  to  in  order  to  remedy  mistakes.  A tho- 
roughly successful  etching,  an  etching  successful  not  only 
in  result  but  in  its  progress,  does  not  involve  anything  of 
the  nature  of  a correction  anywhere.  All  its  touches 
remain  ; no  subsequent  work  obliterates  them  ; shades  may 
be  passed  over  them,  but  they  remain  visible  still.  It 
follows  that  etching  exacts  more  decision  than  water-colour, 
and,  consequently,  more  strongly  tends  to  produce  the  habit 
of  decision  in  its  practitioners. 

3.  WITH  DRAWING  IN  SEPIA  OR  INDIAN  INK. 

Drawings  in  one  colour,  done  with  the  brush,  bear  the 
same  relation  to  etching  that  water-colour  does,  with  the 
single  difference  of  colour.  A sepia  drawing  is  likely  to 
have  its  relations  of  light  and  dark  more  accurately  true 
than  an  etching  by  the  same  artist,  but  is  not  so  likely  to 


4 


ETCHING  COMPARED 


rival  it  in  vivacity  of  accent.1  When  a sepia  drawing,  com- 
plete as  a study  of  light  and  dark;  aims  also  at  delicate  in- 
dications of  form,  it  becomes  too  costly  in  point  of  time  to 
note  impressions  whilst  they  are  perfectly  vivid.  The 
difference  between  sepia  and  etching,  if  the  same  time  is 
allowed  to  both,  is  entirely  in  favour  of  sepia  if  accurate 
noting  of  light  and  shade  is  the  object,  and  as  entirely  in 
favour  of  etching  if  the  artist  wishes  to  draw  attention  to 
points  of  character.  It  is  exceedingly  difficult  in  etching, 
and  without  great  labour  and  correction  almost  impossible, 
to  note  all  delicate  weights  of  tone  according  to  the  wish 
and  intention  of  the  artist ; but  in  sepia  or  Indian  ink  this 
is  so  easy  that  where  there  is  failure  it  may  at  once  be  attri- 
buted to  the  artist’s  weakness  in  chiaroscuro.  The  first  aim 
of  a sepia  drawing  ought  to  be  perfect  light  and  shade, 
because  that  is  the  especial  perfection  attainable  in  the 
method ; but  for  an  etcher  to  make  complete  light  and 
shade  his  first  aim  would  be  barbarous,  because  it  could  only 
be  attainable  in  his  art  by  great  labour,  and  at  the  cost  of 
qualities  more  purely  mental  which  ought  to  be  the  glory  of 
his  work.2 

1 Unless  the  etcher  has  worked  very  laboriously  for  tone,  and  is  a master  of  the 
craft,  in  which  case  he  may  possibly  get  the  relations  of  light  and  dark  as  in  a 
sepia  drawing,  but  never  easily. 

2 There  is  a new  school  of  etching  which  may  be  said  to  have  come  into  being 
since  the  first  edition  of  this  work  was  published,  and  which  aims  at  nothing  less 
than  the  complete  translation  of  oil-pictures  into  light  and  shade.  The  best  men 
have  succeeded  in  this  quite  sufficiently  to  justify  their  attempt ; but  the  desire  for 
perfect  light  and  shade  is  dangerous  to  the  more  important  quality  of  expressive 
drawing,  and  even  to  light  and  shade  itself,  for  unless  the  true  relations  are  attained, 
the  attempt  to  reach  them  ends  in  mere  blackness  or  a general  dulness  of  foul 
greys,  which  is  even  worse.  An  etcher  from  pictures,  who  is  in  reality  an  engraver 
using  etching  as  a means  of  translation,  will  naturally  give  great  effort  to  attain  true 
relations  of  tone  ; but  an  original  etcher  ought  not  to  make  them  his  first  object ; 
expression  by  line  ought  to  be  his  first  object 


WITH  OTHER  ARTS. 


5 


4.  WITH  DRAWING  IN  CHALK  AND  LITHOGRAPHY. 

Since  chalk-drawings  on  paper  and  on  stone  have  the 
same  qualities,  they  may  be  considered  as  one  art.  Litho- 
graphy is  richer  than  etching  in  the  fulness  of  a touch, 
c'est  plus  g'i'as,  its  touch  is  softer  and  blends  better.  Some 
pictures  can  be  better  interpreted  by  lithography  than  by 
etching.  For  example,  Troyon  is  admirably  rendered  by 
good  lithographers,  such  as  Loutrel,  Fran^ais,  and  Eugene 
Le  Roux,  and  their  lithographs  convey  a better  idea  of  his 
manner  than  etching  would.  All  that  is  said  of  etching  as 
an  autographic  art  is  equally  true  of  lithography  ; a litho- 
graph by  Harding  is  just  as  truly  his  own  as  a drawing  done 
by  him  directly  on  paper.  I have  often  felt  surprised  that 
fine  lithographs  should  not  be  more  valued  than  they  are  ; 
it  is  true  that  the  world  has  been  flooded  with  bad  ones,  but 
the  existence  of  bad  performances  in  any  art  ought  not  to 
produce  the  impression  that  the  art  is  generally  weak.  No 
one  looks  for  great  art  in  a lithograph  ; yet  lithography  is 
perfectly  competent  to  express  great  ideas.  But,  though 
quite  as  autographic  as  etching,  and  though  an  appearance  of 
richness  is  more  easily  attainable  in  it,  lithography  is  so  far 
inferior  to  etching  in  precision  and  sharpness  of  minute 
accent,  that  it  is  inconceivable  how  one  of  Rembrandt’s  keen 
little  visages  could  ever  be  fairly  rendered  by  chalk  on  stone. 
The  points  on  which  expression  depends  in  the  etching  of  a 
face  are  so  infinitely  minute,  that  no  blunt  instrument  can 
render  them,  and  the  lithographer’s  chalk  is  always,  when 
compared  with  the  etching  needle,  a blunt  instrument.  It 
is  also  continually  crumbling  away  under  his  hand,  and  the 
very  grain  of  the  stone  he  works  upon,  though  necessary  to 
detach  and  hold  the  particles  of  chalk  on  which  his  effect 
depends,  is  an  impediment  to  the  clearness  of  lines.  The 
lithographer  has  one  great  advantage  over  the  etcher,  he  can 


6 


ETCHING  COMPARED 


see  what  he  is  doing,  and  though  drawings  on  stone  always 
look  better  on  the  stone  itself  than  they  do  in  the  printed 
proofs,  the  artist  does  not  work  in  negative  as  etchers  do, 
but  in  black  upon  the  pleasant  warm  tint  of  the  stone,  just 
as  if  he  were  drawing  in  black  chalk  upon  tinted  paper. 

5.  WITH  PEN-DRAWING  AND  INK  LITHOGRAPHY. 

In  polite  circles,  where  a knowledge  of  the  fine  arts  has 
not  yet  penetrated,  it  is  customary  to  call  pen-drawings 
“ etchings ; ” and  since  the  existence  of  the  real  art  of  etch- 
ing is  but  little  known,  it  will  generally  be  found  that  when 
a young  lady  is  said  to  etch  well  it  does  not  mean  that  she 
bites  copper-plates  with  acid,  but  simply  that  she  draws 
nicely  with  pen  and  ink.  There  are  also  persons  more 
advanced  in  the  study  of  the  fine  arts,  who,  although  aware 
that  etching  and  pen-drawing  are  distinct  arts,  believe  never- 
theless that  their  powers  and  capacities  are  identical.  The 
truth  is,  however,  that  there  are  several  important  points  of 
difference,  all  which,  except  one,  are  in  favour  of  etching. 
The  pen  is  a very  free  instrument  when  compared  with  the 
burin,  but  it  is  not  so  free  as  the  etching-needle,  and  the 
liberty  of  the  artist  is  still  further  limited  by  the  necessity 
for  avoiding  blots,  which  easily  occur  in  close  shading. 
Drawing  with  the  pen  may  be  divided  into  two  distinct  arts. 
In  its  first,  or  simple  form,  pen-drawing  consists  of  lines 
variously  disposed,  but  always  drawn  with  ink  of  the  same 
strength ; in  its  more  complex  form,  pen-drawing  reaches 
greater  delicacy  by  using  ink  of  infinitely  various  degrees  of 
dilution,  from  the  palest  that  can  be  visible  in  a line  to  the 
blackest  that  will  flow  from  the  pen.  The  first  method  can 
only  compete  with  the  most  primitive  etching,  because  it  can 
only  imitate  etchings  done  in  one  biting  ; but  the  second 
can  also,  though  at  some  distance,  imitate  the  more  complex 
etchings  produced  by  several  bitings. 


WITH  OTHER  ARTS. 


7 


It  remains  to  be  observed  that  there  is  a marked  distinc- 
tion between  etching  and  pen-drawing,  as  practical  arts,  in 
the  effect  of  pressure  with  the  point  of  the  instrument.  If 
you  press  with  your  pen  you  enlarge  your  line,  so  that 
pressure  becomes  an  important  means  of  expression.  In 
etching,  on  the  other  hand,  pressure  ought  always  to  be 
absolutely  equal,  and  the  enlargement  of  the  line  can  only 
be  effected  by  taking  a blunter  point.  Pressure,  in  etching, 
ought  to  be  equal,  because  where  it  is  too  heavy  the  point 
ploughs  the  copper  and  causes  over-biting,  and  where  it  is 
too  light  the  varnish  is  not  perfectly  removed,  though  it  may 
seem  to  be,  and  the  acid  either  produces  no  line  at  all  or  a 
broken  series  of  dashes  and  dots.  We  are  so  accustomed, 
in  the  fine  arts,  to  consider  pressure  as  a means  of  varying 
expression,  that  inexperienced  etchers  find  the  greatest  diffi- 
culty in  reaching  the  steady  equality  of  it  which  is  necessary 
to  the  success  of  the  subsequent  biting  ; and  this  difficulty 
is  likely  to  be  felt  the  most  by  etchers  accustomed  to  express 
themselves  in  arts,  such,  for  example,  as  violin-playing, 
where  every  crescendo  is  an  increase  of  pressure,  and  every 
diminuendo  a diminution  of  it. 

Pen-lithography  belongs  to  the  first  of  the  two  classes  of 
pen-drawing  ; paleness  cannot  be  obtained  in  it  by  dilution 
of  ink,  but  only  by  the  thinness  and  paucity  of  the  lines. 
It  follows  that  pen-lithography  can  never  approach  etching 
in  variety  of  depth,  and  can  neither  rival,  on  the  one  hand, 
the  delicacy  of  its  fainter  passages,  nor,  on  the  other,  the 
vigorous  depths  of  its  strongly-bitten  blacks.  If  we  add  to 
these  inferiorities  the  comparative  want  of  freedom  caused 
by  the  use  of  an  instrument  which  may  produce  a blot  if  too 
full,1  or  a vacant  scratch  when  it  runs  dry,  and  which  re- 
quires replenishing  every  minute  (a  continual  interruption  to 
the  rapid  utterance  of  thought),  we  have  grounds  for  a com- 

1 When  the  blot  is  intentional  in  pen-drawing,  it  is  a great  source  of  power, 
and  is  constantly  used  by  skilful  artists. 


8 


ETCHING  COMPARED 


parison  which  is  entirely  favourable  to  etching.  Pen-litho- 
graphy has,  however,  the  great  advantages  of  showing  the 
result  during  the  progress  of  the  work,  and  avoiding  the 
dangers,  whilst  it  misses  the  charms,  of  many  bitings.  It  is 
ronsequently  far  better  suited  for  amateurs. 

6.  WITH  DRAWING  IN  BLACK  LEAD. 

The  black-lead  pencil  has  some  definite  advantages  over 
the  etching-needle.  It  may  be  cut  very  broad,  and  in  this 
state  will  rapidly  produce  pale  tints  of  fine  quality,  not  to 
be  rivalled  in  etching  without  much  greater  labour.  It  will 
also  yield  various  degrees  of  blackness  to  a variety  of  pres 
sure.  As  lead -pencils  are  made  of  different  kinds,  some 
very  hard  and  others  soft  and  black,  some  with  broad  leads 
for  shading,  and  others  to  be  cut  to  a fine  point,  very  various 
qualities  are  attainable  in  pencil-drawing.  There  may  be  an 
infinite  delicacy  and  precision  with  the  point,  an  even  breadth 
of  shade,  and  some  considerable  depth  in  the  extreme  darks. 
It  is,  however,  especially  in  these  darks  that  pencil-drawing 
comparatively  fails,  because  it  has  an  unpleasant  tendency 
to  shine,  and  the  blackest  black  produced  with  a lead-pencil 
is  always  light  in  comparison  with  printer’s  ink.  The  degree 
of  freedom  enjoyed  by  the  designer  in  black-lead  is  greater 
than  the  pen  allows,  but  inferior  to  the  freedom  of  the 
etching-point.  It  may  be  observed,  however,  that  for  artists 
who  have  not  reached  a very  high  degree  of  decision,  this 
freedom  of  the  etching-point  is  too  excessive  to  be  altogether 
an  advantage.  The  lead-pencil  depresses  the  surface  of  the 
paper  where  it  passes,  and  so  makes  for  itself  a shallow 
channel  whose  sides  are  deep  enough  to  prevent  involuntary 
slips  ; but  the  surface  of  polished  copper  is  so  very  smooth, 
and  the  thin  coat  of  varnish  resists  so  little,  that  the  etcher 
has  need  of  great  firmness  and  precision  in  the  hand  itself, 
for  he  can  never  safely  rest  upon  the  point  It  follows  that 


WITH  OTHER  ARTS. 


9 


pencil-drawing  is  a far  easier  art  than  etching,  and  in  com- 
mon with  the  other  arts  we  have  been  considering,  it  has  the 
great  advantage  of  being  a positive  art,  etching  (by  the 
process  usually  followed)  being  altogether  negative.  It  is 
scarcely  necessary  to  explain  these  useful  terms,  borrowed 
from  photography ; but  as  a few  readers  may  be  un- 
acquainted with  them,  it  may  be  well  to  add  that  a positive 
art  is  one  in  which  darks  are  represented  by  darks,  and 
lights  by  lights  ; whereas  in  a negative  art,  such  as  etching, 
darks  are  represented  (in  the  direct  work  of  the  artist)  by 
lights,  and  lights  by  darks.  This  adds  greatly  to  the 
difficulty  of  etching,  especially  in  the  case  of  beginners,  who 
find  themselves  greatly  embarrassed  by  the  impossibility  (to 
them)  of  translating  their  work  into  its  corresponding  posi- 
tive, as  the  printing-press  will  translate  it.  In  sculpture,  the 
sculptor  who  makes  a bas-relief  works  in  positive,  and  the  seal- 
engraver  and  die-sinker  in  negative ; but  the  seal-engraver 
has  a great  advantage  over  the  etcher  in  being  able  to  take 
frequent  proofs  of  his  work  during  its  progress,  which  the 
etcher  can  only  do  after  removing  the  varnish  from  his  plate. 

The  finest  pencil-drawings  do  not  attempt  depths  of 
shade,  but  content  themselves  with  comparatively  pale  tones. 
The  worst  pencil-drawings,  those  of  school-boys  who  pursue 
the  fine  arts,  usually  abound  in  passages  where  great  pressure 
and  much  repetition,  and  very  black  pencils  indeed,  have 
ended  in  the  production  of  such  brilliant  black-leading  as 
might  delight  the  eyes  of  an  artistic  housemaid.  The  blacks 
of  etching  are  safer  in  quality,  for,  at  least,  they  never  shine, 
and  easily  reach  an  intense  depth  ; but  the  pale  tones  of 
pencil-drawing  are  safer  than  the  pale  tones  of  etching. 
As  to  the  value  of  the  two  methods,  much  depends  on  the 
kind  of  subject,  and  much  upon  the  temper  of  the  master. 
A naked  figure,  by  Gerome,  is  better  in  pencil,  because  its 
modelling  is  truer  and  more  delicate  than  any  modelling 
Ger6me  could  express  with  the  etching- needle ; but  an  old 


IO 


ETCHING  COMPARED 


man’s  face,  by  Rembrandt,  is  rendered  more  incisively  with 
the  point  than  it  could  be  with  any  other  instrument. 

7.  WITH  THE  GRAPHOTYPE. 

Since  the  Graphotype  is  a recent  invention,  it  may  be 
necessary,  first,  to  give  a brief  description  of  the  process. 
Finely  powdered  chalk  is  spread  thickly  on  a metal  plate 
and  then  subjected  to  hydraulic  pressure  till  it  becomes  a 
solid  mass  with  a beautiful  white  surface,  slightly  shining^ 
but  not  inconveniently  brilliant.  On  this  surface  the  artist 
draws  in  a glutinous  ink,  perfectly  black,  flowing  from  a 
finely -pointed  little  brush ; the  pen  cannot  be  used,  on 
account  of  the  friability  of  the  chalk.  The  ink  glues  the 
particles  of  chalk  where  it  passes,  and  when  the  drawing  is 
complete  the  white  spaces  between  the  lines  are  easily 
hollowed  by  rubbing  them  gently  with  a piece  of  velvet  or  a 
light  brush.  The  black  lines  remain  in  relief,  like  the  lines 
of  a woodcut  The  plate  is  then  dipped  in  a solution  of 
flint  and  so  hardened,  after  which  a stereotype  cast,  or  an 
electrotype  copy,  is  taken  from  it,  and  this  stereotype  or 
electrotype  serves  to  print  from  as  a woodcut. 

The  most  obvious  advantage  of  the  graphotype  is  that  it 
is  a positive  process  in  every  sense.  Not  only  is  it  superior 
to  etching  in  showing  the  artist  black  for  black  and  white 
for  white,  instead  of  glittering  copper  for  black,  and  lamp- 
black for  white,  but  it  is  superior  both  to  etching  and 
lithography  in  the  entire  absence  of  reversing ; the  objects 
that  will  be  to  the  right  in  the  print  are  to  the  artist’s 
right  as  he  works.  It  is  as  easy  as  drawing  upon  paper 
with  a brush-point  and  ink  of  uniform  thickness,  in  lines. 
No  brushwork  in  the  painter’s  sense  is  possible,  nor  are 
any  more  or  less  pale  lines,  but  the  lines  may  vary  in 
thickness. 

The  graphotype  is  as  autographic  as  any  process  ever 


WITH  OTHER  ARTS. 


ii 


invented,  and  the  artist  who  is  only  able  to  draw,  and  has 
not  devoted  much  time  to  the  special  study  of  etching, 
would  find  the  graphotype  a more  faithful  interpreter  of  his 
intentions,  because  inexperienced  etchers  never  accomplish 
what  they  propose  to  themselves,  and  are  especially  liable 
to  disappointment  in  relations  of  tone.  But  the  graphotype 
can  never  supersede  etching,  being  altogether  a coarser  and 
heavier  process,  and  neither  capable  of  the  delicacy  and 
extreme  tenuity  of  line  which  distinguish  etching,  nor  of  its 
invaluable  variety  of  dark.1 

8.  WITH  WOOD  ENGRAVING. 

Wood  engravers  have  never  been  more  skilful  than  they 
are  now,  and  never  more  unfaithful  to  the  true  nature  and 
principles  of  their  art.  No  art  has  been  so  unfortunate  as 
wood  engraving,  in  being  condemned  from  the  first  to  pro- 
duce results  precisely  the  contrary  of  the  results  which  are 
naturally  indicated  by  the  method.  If  you  take  a wooden 
block  unengraved,  and  print  from  it  as  if  it  were  a finished 
woodcut,  you  will  obtain  a perfectly  black  patch  the  size  of 
your  block.  If  you  take  a copper  plate  unengraved,  and 
print  from  it  as  if  it  were  a finished  etching,  you  will  obtain 
a white  space,  enclosed  by  four  impressed  but  colourless 
marks,  produced  by  the  edges  of  the  plate,  and  called  the 
plate  mark.  If  you  engrave  a line  on  both  block  and  plate, 
and  then  hand  them  again  to  their  respective  printers,  your 
new  proofs  will  give  you  a white  line  on  a black  ground  for 
the  woodcut,  and  a black  line  on  a white  ground  for  the 
etching.  The  natural  process  of  woodcutting  is,  therefore, 
to  leave  the  darks  and  mark  the  lights,  showing  always 
the  work  of  the  tool  as  a definite  white  mark,  every  touch 
1 The  graphotype  is  one  of  the  many  processes  that  have  been  invented  as 
**  substitutes  for  wood  engraving,”  but  it  is  not  a perfect  process,  though  it  seems 
to  hold  its  ground  to  some  extent  commercially.  It  may  do  for  coarse  work,  but 
is  of  little  use  for  the  purposes  of  fine  art. 


12 


ETCHING  COMEARED 


of  it.  But  as  it  happens  that  paper  is  white  and  light- 
coloured,  for  the  most  part,  and  as  people  are  accustomed 
to  see  drawings  done  in  dark  upon  white,  because  it  is 
easier  to  make  a very  black  line  on  white  paper  than  a 
very  white  line  upon  black,  it  follows  that  black  upon  white 
has  come  to  be  considered  by  the  world  in  general  a more 
natural  and  rational,  and  in  every  way  more  orthodox, 
method  of  proceeding  than  white  upon  black.  So  the 
wood  engravers  have  all  along  been  laboriously  cutting  out 
bits  of  white  to  make  us  feel  as  if  they  had  engraved  the 
black  lines,  and  every  hasty  scrawl  of  the  draughtsman  has  had 
to  be  carefully  cut  round  by  them.  Hence,  wood  engraving 
has  not  been  a genuine  art,  except  in  a few  instances,  nor 
have  its  natural  powers  been  duly  cultivated.  It  has  occu- 
pied the  position  of  some  man  of  great  natural  ability,  who 
has  had  the  misfortune  to  be  bred  to  a profession  for  which 
his  faculties  were  always  unsuited,  who  by  dint  of  long 
study  and  patience  has  taught  himself  to  do  what  was 
required  of  him,  but  who  has  left  his  true  self  uncultivated 
and  unexpressed.  There  are  several  instances  of  true  wood 
engraving  in  the  illustrations  of  Gustave  Dore ; but  there 
are  many  more  examples  of  attempts  to  imitate  other  arts. 
The  most  genuine  wood  engraving  may  be  known  at  once  by 
the  perfect  frankness  of  its  white  lines,  and  the  plain  inten- 
tion of  its  white  spaces,  as  cut  out  lights , not  mere  intervals 
of  white  paper.  It  may  be  objected  that  art  more  naturally 
proceeds  by  black  lines  than  by  white  lines  ; but  this  is  one 
of  the  common  illusions  of  custom.  We  are  more  accus- 
tomed to  see  artists  work  in  black  lines  than  in  white  ; but 
if  the  question  be  referred  to  nature,  it  will  be  found  that 
natural  darks  are  relieved  against  lights,  and  lights  against 
darks,  in  about  equal  proportion,  so  that  the  power  of 
drawing  white  lines  is  just  about  as  useful  as  the  power 
of  drawing  black  ones.  The  next  time  the  reader  sees  a 
common  hedge  he  will  have  an  opportunity  for  testing  this 


WITH  OTHER  ARTS. 


T3 


doctrine,  and  will  as  often  find  light  twigs  against  dark 
places  as  the  converse.1 

An  attempt  to  compare  wood  engraving  with  etching  is 
embarrassed  by  the  various  false  directions  of  wood  engraving 
as  practised  by  contemporary  artists.  One  of  its  recent 
developments  is  the  imitation  of  etching  itself ; and  here, 
of  course,  the  false  art  remains  at  an  infinite  distance  from 
the  true  one.  No  wood  engraving  can  ever  reach  the  variety 
of  tint  obtained  by  variety  of  biting ; and  although  modern 
woodcutters  are,  as  mechanics,  skilful  to  a degree  which 
would  have  astonished  Albert  Durer,  no  surface  printing 
can  give  lines  of  such  fineness  and  delicacy  as  may  be 
reached  by  etched  lines,  or  dry-point  scratches,  with  the 
ink  in  them.  The  best  way  to  compare  the  wood  engraver’s 
imitation  of  etching  with  etching  itself  is  to  put  such  wood- 
cut  copies  of  Rembrandt’s  etchings  as  those  published  in 
the  “ Histoire  des  Peintres”  side  by  side  with  the  originals. 
The  woodcuts  in  that  publication  are  as  good  as  any  modern 
imitative  work  whatever,  so  that  the  comparison  is  a fair 
one.  The  character  of  the  original  is  cleverly  suggested ; 
but  the  degree  of  reproduction  attained  is  about  that  attain- 
able in  a pen-drawing,  with  thick  Indian  ink,  never  diluted 
for  lighter  passages. 

1 As  instances  of  genuine  wood  engraving,  by  white  lines  and  spaces,  may  be 
mentioned  the  following  subjects  from  Dore’s  “Quixote:” — “ Mais,  Seigneur , 
est-ce  bonne  rbgle  de  chevalerie  que  nous  allions  ainsi  par  ces  montagnes  comme  des 
enfants  perdus Vol.  i.  ch.  xxv.  engraved  by  Pisan.  “ Tandis  qu’on  naviguait 
ainsi,  Zora'ide  restait  a mes  cotes.” — Vol.  i.  ch.  xli.  engraved  by  Pisan.  “Enfin 
au  bout  de  trois  jours  on  trouva  la  capricieuse  Leandra  dans  le  fond  d’une 
caverne.” — Yol.  i.  ch.  li.  engraved  by  Pisan.  “J’ai  dej&  fait,  Seigneur  Duran- 
dart,  ce  que  vous  m’avez  commande  dans  la  fatale  joumee  de  notre  deroute.” — 
Vol.  ii.  ch.  xxiii.  engraved  by  Pisan.  “ Je  suis  Merlin,  celui  que  les  histoires  disent 
avoir  eu  le  diable  pour  pere.” — Vol.  ii.  ch.  xxxv.  without  engraver’s  name.  “ L& 
se  termine  le  chant  de  l’amoureuse  Altisidore.” — Vol.  ii.  ch.  xliv.  engraved  by 
Pisan.  In  the  last  the  reader  may  observe  the  frank  cross-hatching  of  white  lines 
on  the  stones  above  the  door.  Some  black  lines  are  still  preserved,  however, 
from  habit,  especially  in  the  dresses  of  the  ladies. 


14 


ETCHING  COMPARED 


Another  kind  of  wood  engraving  is  the  imitation  of  burin- 
work  on  copper  or  steel.  By  far  the  best  instances  of  this 
are  the  cuts  after  Durer’s  copper  or  steel  plates  in  the  work 
just  referred  to,  especially  the  “ Melancholy,”  which  is  a 
wonderful  example  of  clear  and  minute  line-cutting.  To 
compare  work  of  this  kind  with  etching  is  unnecessary, 
because  all  the  qualities  of  woodcut  imitations  of  steel 
engraving  are  possessed  in  higher  perfection  by  steel  en- 
graving itself,  which  we  shall  shortly  have  to  consider. 

Next  to  woodcutting  in  avowed  white  lines,  the  kind  of 
work  in  which  the  engraver  has  most  to  do  is  the  interpre- 
tation of  tints.  In  facsimile  engraving,  the  engraver  has 
nothing  to  do  beyond  the  removal  of  unstained  wood,  an 
operation  requiring  no  more  intellect,  though  greater  manual 
skill,  than  the  rubbing  away  of  chalk  in  the  graphotype. 
But  the  accurate  interpretation  of  tints  requires  great  artistic 
judgment,  as  well  as  great  manual  skill ; and  the  wood  en- 
graver who  renders  a washed  drawing  without  missing  any 
essential  relation  of  tone,  and  by  means  of  lines  invented  by 
himself,  is  exercising  an  art  which,  whether  true  or  false  in 
its  method,  has  claims  of  its  own,  and  may  be  seriously 
compared  with  etching.  What  first  strikes  us  is  a wide 
difference  in  popularity,  entirely  in  favour  of  wood  engrav- 
ing. Interpretative  wood  engraving  (as  opposed  to  fac- 
simile wood  engraving)  is  in  the  fullest  and  most  extensive 
sense  popular.  Many  thousands  of  copies  of  woodcut  illus- 
trations are  sold  easily,  when  the  same  subjects,  if  they  had 
been  etched  on  copper,  would  have  found  with  difficulty  two 
or  three  hundred  purchasers.  This  is  due,  in  part,  to  the 
greater  cheapness  of  woodcuts,  which  may  be  cheaply 
printed,  and  will  yield  immense  editions  without  deteriora- 
tion ; but  it  is  also  due,  and  in  a still  greater  degree,  to  some 
quality  in  wood  engraving  which  charms  the  ordinary  spec- 
tator, and  which  is  either  absent  from  etching  or  neutralised 
by  some  other  peculiarity  offensive  to  the  uneducated  eye. 


WITH  OTHER  ARTS. 


J5 


It  is  probable  that  this  quality  is  an  appearance  of  softness. 
First-rate  modern  woodcutting-,  aided  by  the  artifice  of  in- 
serting various  thicknesses  of  paper,  so  as  to  obtain  a variety 
of  pressure  in  the  printing,  attains  a degree  of  softness  in 
itself  highly  agreeable,  and  always  delightful  to  the  ignorant. 
Etching,  on  the  contrary,  has  a natural  tendency  to  look 
meagre  and  “ scratchy,”  a tendency  overcome  only  by  the 
most  skilful  masters.1  If  the  reader  will  take  the  trouble  to 
compare  Mr.  Birket  Foster’s  drawings  on  wood,  as  interpreted 
by  Mr.  Edmund  Evans,  with  the  etchings  of  the  same  artist, 
he  will  at  once  understand  the  popular  feeling,  though  he 
may  not  fully  share  it.  The  engravings  are  richer  and  softer 
than  the  etchings ; they  have  more  amenity.  It  is  with  the 
fine  arts  as  with  individual  men  : amenity  is  a more  popular 
quality  than  freedom  or  truth.  Etching  is  like  those 
characters  in  real  life,  too  seldom  appreciated  at  their  full 
value,  who  have  abundant  energy,  great  freedom  of  manner, 
and  an  insight  too  keen  to  be  always  agreeable,  and  whose 
intense  personality  and  originality  make  them  almost  in- 
capable of  concession  or  conformity.  Wood  engraving  is 
usually  executed  in  quite  a different  spirit.  The  engraver 
does  not  work  passionately,  like  the  true  etcher,  but  gives 
patient  and  skilled  labour  to  make  his  work  pleasant  to  the 
eye.  His  art  is  thus  more  in  unison  with  the  temper  of 
society,  which  likes  a gentle  manner  and  perfect  training  in 
little  things,  and  rather  objects  to  intellect,  if  it  disdains  con- 
ventional expression,  and  takes  no  pains  to  make  itself  agree- 
able. The  whole  life  of  the  wood  engraver  is  devoted  to 
arts  of  interpretation,  which  the  etcher  disdains  as  mecha- 
nism ; and  it  is  to  the  perfection  attained  in  these  minor  arts 
that  the  popularity  of  modern  wood  engraving  is  due.2 3 

1 But  entirely  overcome  by  them.  There  are  etchings  by  Rajon  and  Hedouin, 
for  example,  in  which  the  quality  of  softness,  wherever  the  artist  desired  it,  has 

been  as  fully  attained  as  it  could  be  even  in  a chalk  or  charcoal  drawing. 

3 In  the  best  wood  engraving  there  is  often  a lively  sparkle  due  to  the  intelligent 


i6 


ETCHING  COMPARED 


9.  WITH  ENGRAVING  IN  MEZZOTINT. 

Having  prepared  his  plate  by  roughening  it  all  over  with 
a heavy  tool,  so  constructed  as  to  present  a great  number  of 
little  sharp  teeth,  each  of  which  produces  a small  indentation 
and  raises  a corresponding  bur,  the  engraver  in  mezzotint 
starts  from  a point  exactly  opposed  to  that  of  the  aquafortist. 
His  plate,  before  anything  is  represented  upon  it,  yields  an 
impression  which  is  entirely  black,  and  a very  rich  soft  black, 
perfectly  equal,  and  showing  no  line  or  mark  of  any  kind. 
The  etcher’s  plate,  on  the  contrary,  yields  a perfectly  white 
impression.  The  engraver  in  mezzotint,  like  the  engraver  on 
wood,  makes  his  plate  lighter  as  he  works,  whilst  the  etcher 
darkens  his  plate.  There  is  also  another  difference,  not  less 
important — the  etcher  works  by  lines,  and  the  mezzotint 
engraver  by  spaces.  The  consequence  of  these  differences 
of  method  is  a difference  of  quality  and  spirit.  Every  art, 
so  long  as  it  is  healthy  and  rightly  pursued,  tends  to  express 
chiefly  those  artistic  ideas  which  it  can  express  most  easily. 
Mezzotint  is  naturally  rich  and  soft,  with  the  corresponding 
defect  of  vagueness  and  want  of  precision  in  detail,  and  be- 
cause its  blacks  are  so  full  and  perfect,  and  so  cheaply  ob- 
tained, it  has  a tendency  to  blackness.  Etching  tends  to 
thinness  and  hardness,  but  is  capable  of  any  conceivable 
degree  of  firmness  and  precision  in  detail.  It  would  be 
absolutely  impossible  to  engrave  in  pure  mezzotint  one  of 
Rembrandt’s  etched  faces  on  the  same  scale,  without  missing 
some  of  those  sharp  and  delicate  accents  upon  which  the 
power  of  the  work  mainly  depends.  On  the  other  hand, 
although  pure  etching,  without  the  bur  raised  by  the  dry 

way  m which  the  engraver  has  utilised  touches  of  white,  often  very  minute.  You 
seldom  find  this  quality  in  etching,  but  it  is  perfectly  attainable  by  the  etcher  who 
chooses  to  make  it  one  of  his  technical  purposes.  See  the  chapter  in  this  volume 
on  the  works  of  Samuel  Palmer. 


WITH  OTHER  ARTS. 


*7 


point,1  can  never  imitate  the  peculiar  velvety  softness  of 
mezzotint,  it  can  fully  rival  its  depth  and  richness  of  effect. 
The  two  arts  are  to  a considerable  extent  complementary  of 
each  other.  Pure  etching,  when  not  laborious  in  finish,  has 
a meagre  look  which  mezzotint  corrects,  and  mezzotint  has 
a want  of  energy  and  precision  which  a few  etched  lines  may 
often  effectually  supply.  Mezzotint  and  etching  are  there- 
fore often  seen  in  combination,  as  in  the  “ Liber  Studiorum  ” 
of  Turner.  Engravers’  etching,  in  combination  with  mez- 
zotint, is  now  popular  enough,  when  helped  by  machine 
ruling,  for  the  production  of  large  prints  to  hang  in  drawing- 
rooms. The  mezzotint  gives  a look  of  softness,  and  the 
machine-ruling  an  appearance  of  neatness,  which  make  the 
etching  pass  current  with  the  print-buying  section  of  the 
public. 

IO.  WITH  LINE-ENGRAVING. 

The  mechanical  difficulties  of  line-engraving  are  so  great 
that  they  have  naturally  absorbed  much  of  the  attention  of 
line-engravers — so  much  that  the  conquest  of  mechanical 
difficulty  has  been  too  often  regarded  by  them  as  the  chief 
aim  of  their  lives,  to  the  neglect  of  artistic  qualities.  The 
degradation  of  line-engraving  was  complete  when  a tradition 
had  at  length  regulated  every  method  of  interpretation,  and, 
leaving  nothing  to  the  instinct  and  feeling  of  the  workman, 
prescribed  for  him  where  to  put  thick  lines  and  thin  lines, 
and  lozenges  with  dots  in  the  middle.  Having  attained 
skill  in  a difficult  handicraft,  the  engravers  became  proud  of 
their  accomplishments,  and,  forgetting  that  the  only  rational 
use  of  them  could  be  the  interpretation  of  artistic  ideas, 
took  to  displaying  them  for  themselves,  without  reference  to 
either  nature  or  art.  To  cut  lines  regularly  and  put  dots 
neatly  became  an  aim  in  itself.  The  instrument  chiefly 
used  by  line-engravers,  the  burin,  is  answerable  for  much  of 

1 See  the  chapter  on  Dry  Point 
C 


i8 


ETCHING  COMPARED 


this  lamentable  aberration.  No  tool  used  in  the  fine  arts 
has  less  freedom.  It  is  difficult  to  handle,  requires  the 
application  of  an  appreciable  amount  of  force,  and  is  always 
slow,  even  in  the  most  skilful  hands.  The  lines  which  it 
cuts  are  singularly  pure  and  sharp,  and  it  can  vary  both 
their  thickness  and  their  depth,  obediently  to  the  pressure 
of  the  fingers  and  the  lower  part  of  the  palm.  It  describes 
beautiful  curves  quite  naturally,  like  a skate  that  bites  in 
ice,  but  it  has  great  difficulty  in  following  violent  and  minute 
irregularities.  Its  operation  on  the  mind  of  the  artist  who 
uses  it  is  always  to  make  him  patient  and  very  attentive  to 
mechanical  matters,  for  which  he  has  to  be  perfectly  cool, 
and  this  coolness  easily  chills  into  coldness.  If  modern  line- 
engravers  were  in  the  habit  of  engraving  their  own  inven- 
tions, as  Durer  did,  the  chilling  influence  of  the  instrument 
would  have  been  less  visible  in  their  work,  because  a man 
who  expresses  his  own  thought  has  always  more  heat  and 
vivacity  than  a man  who  only  interprets  the  thought  of 
another.  The  misfortune  of  line-engraving  has  been  that 
mechanical  dexterity  has  been  made  too  absorbing  a pur- 
suit, and  that  it  has  been  devoted  too  exclusively  to  copyism. 
No  art  could  long  resist  these  adverse  influences.  Even 
etching  itself,  free  and  original  as  it  is,  would  lose  much  of 
its  freedom  and  all  its  originality,  if  the  public  required 
from  it  mechanical  perfection,  and  set  it  to  the  dull  business 
of  copying  finished  pictures. 

The  decline  of  line-engraving,  in  the  commercial  sense, 
has  been  due  to  its  great  costliness  rather  than  to  any 
artistic  deficiency,  and  as  this  costliness  in  money  is  merely 
an  expression  for  costliness  in  time,  line-engraving  cannot 
flourish  as  etching  may,  in  spite  of  public  neglect,  because 
the  practitioners  of  it  cannot  afford  to  pursue  it  without 
reference  to  pecuniary  results.  Such  an  art  as  line-engrav- 
ing cannot  exist  without  liberal  support,  but  the  failure  of 
such  support  is  not  to  be  taken  as  any  proof  of  inferiority 


WITH  OTHER  ARTS. 


*9 


in  the  art.  Line-engraving  had  great  powers  peculiar  to 
itself.  It  was  especially  adapted  for  the  rendering  of  the 
naked  figure,  whose  elaborate  curves  and  complicated  model- 
ling were  well  expressed  by  the  burins  of  the  great  engravers. 
As  the  interest  in  the  naked  figure  has  declined,  and  given 
place  to  an  interest  in  landscape  and  costume  pictures,  it  is 
natural  that  less  value  should  be  attached  to  a kind  of 
engraving  which  greatly  surpassed  other  kinds  of  engraving 
in  the  naked  figure  only,  and  which  would  be  thrown  away 
upon  the  interpretation  of  popular  modern,  art.  Few  naked 
figures  in  pure  etching  have  yet  reached  the  perfect  model- 
ling of  the  great  line-engravers,  but  on  all  other  points  the 
artistic  advantages  rest  with  the  etchers,  however  great  may 
be  the  mechanical  charms  of  clean-looking  burin  work. 

The  wonderful  landscape-engravers  of  the  earlier  part  of 
this  century,  Goodall,  Wallis,  Miller,  and  others,  to  whom 
must  be  added  Mr.  J.  C.  Armytage,  though  not  strictly  line- 
engravers,  for  they  admitted  etching  and  dry  point  work 
(the  bur  being  removed),  have  reached  qualities  which  for 
painter-etchers  may  be  considered  hopeless.  Their  marvel- 
lous renderings  of  weights  of  colour  in  plates  from  Turners 
most  delicate  drawings,  and  especially  their  exquisite  skies, 
are  quite  beyond  rivalry  in  such  etching  as  painters  may 
safely  attempt.  All  etched  skies  that  I have  seen,  not 
excepting  the  best  of  Haden  and  Rembrandt,  and  even 
Claude,  are  either  rude  or  simple  in  comparison  with  such 
skies  as  the  best  in  Rogers’  Poems,  and  plates  63,  66,  and 
67  in  the  fifth  volume  of  “ Modern  Painters.”  In  Mr.  Army- 
tage’s  skies,  machine-ruling  has  been  admitted  as  a ground 
tint,  and  the  lights  scraped  and  burnished  out ; in  the 
illustrations  to  Rogers  the  skies  are  for  the  most  part  pure 
dry  point.  A skilful  etcher,  such  as  Haden  or  Meryon 
may  give  very  intelligible  hints  of  the  mental  emotion  felt 
by  him  in  the  presence  of  some  splendid  natural  sky,  but  he 
cannot  render  the  sky  itself,  the  evanescent  delicacy  of  the 


20 


ETCHING  COMPARED 


cloud-forms,  their  melting  imperceptible  gradations.  But 
the  engravers  have  truly  made  plates  of  copper  yield  images 
as  closely  resembling  skies  as  the  absence  of  colour  and 
feebleness  of  art’s  light  may  admit  of ; they  have  done 
more  than  suggest,  they  have  represented. 

A brief  recapitulation  of  the  foregoing  pages  may  be 
useful  before  we  proceed  farther. 

Etching  is  superior  to  oil-sketching  in  form,  and  to  oil- 
painting  in  freshness.  It  is  inferior  to  both  in  truth  of 
tone,  unless  at  the  cost  of  immense  labour,  aided  by  un- 
common skill. 

It  is  superior  to  water-colour  in  decision  and  directness, 
because  its  earliest  work  remains,  being  never  obliterated 
by  subsequent  washes  and  removals. 

It  is  inferior  to  sepia-drawing  in  accurate  rendering  of 
weights  of  light  and  dark,  but  superior  to  it  in  indications 
of  form. 

It  is  superior  to  lithography  in  precision  of  minute  form 
and  sharpness  of  accent,  but  inferior  to  it  in  richness  and 
fulness  of  touch. 

It  is  superior  to  pen-drawing  in  freedom,  variety,  and 
power,  but  inferior  to  it  in  not  being  sensitive  to  pressure. 

It  is  superior  to  the  lead-pencil  in  depth  and  power,  but 
inferior  to  it  in  equality  of  pale  gradations. 

It  is  superior  to  the  graphotype  in  variety  of  depth  and 
in  delicacy  of  line,  but  inferior  so  far  as  executive  facility  is 
concerned  in  being  entirely  a negative  art,  whilst  the  grapho- 
type is  entirely  positive.  Etching  is,  however,  superior  to 
the  graphotype  in  freedom. 

Etching  is  superior  to  wood  engraving  in  freedom  and 
depth,  but  inferior  to  it  in  the  kind  of  amenity  which  is 
popular. 

It  is  inferior  to  mezzotint  in  softness,  but  excels  it  in 
firmness  and  precision. 

It  is  far  superior  to  line-engraving  in  freedom,  but,  unless 


WITH  OTHER  ARTS 


21 


in  exceptional  instances  inferior  to  it  in  the  modelling  of 
flesh.  Etching  is  also  very  far  inferior  to  the  best  modern 
point-engraving  in  the  representation  of  skies. 

The  strong  points  of  etching  in  comparison  with  other 
arts  are  its  great  freedom,  precision,  and  power.  Its  weak 
points  may  be  reduced  to  a single  head.  The  accurate 
subdivision  of  delicate  tones,  or,  in  two  words,  perfect 
tonality,  is  very  difficult  in  etching  ; so  that  perfect  model- 
ling is  very  rare  in  the  art,  and  the  true  representation  of 
skies,  which  depends  on  the  most  delicate  discrimination  of 
these  values,  still  rarer. 


CHAPTER  II. 


DIFFICULTIES  AND  FACILITIES  OF  ETCHING. 

J N an  article  on  Mr.  Haden’s  etchings  in  the  “ Fine  Arts 
Quarterly  Review,”  Mr.  Palgrave  gives  some  encourage- 
ment to  the  general  opinion  that  etching  is  one  of  the 
easiest  of  the  arts.  “Mr.  Haden  has  wisely  chosen  that 
branch  of  art  which  lays  by  far  the  smallest  stress  on  a 
long  course  of  manual  practice.  Engraving  in  its  severest 
forms  must  probably  be  placed  below  oil-painting  or  sculp- 
ture in  its  manual  demands.  But  the  highest  skill  in 
etching  might  be  reached  sooner  than  the  skill  to  lay  one 
square  inch  of  even  lines  with  the  graver.” 

Mr.  Palgrave  refers  to  the  difficulty  of  manual  execution 
only,  and  there  is  much  truth  in  what  he  says,  but  not 
the  whole  truth.  In  speaking  of  an  art  like  etching,  it  is 
exceedingly  difficult  to  detach  manual  from  intellectual 
qualities.  In  line-engraving  this  is  easier,  because  in  line- 
engraving  manual  dexterities  have  been  made  a distinct 
aim,  and  you  know  when  a man  can  make  lozenges  of  equal 
dimensions,  and  put  his  dots  exactly  in  the  middle  of  them. 
But  the  peculiarity  of  etching,  and  its  great  nobility  as  a 
fine  art,  consist  in  its  disdain  of  all  mechanical  or  purely 
manual  dexterities  whatever.  The  quality  of  an  etched  line 
depends  on  its  meaning,  and  on  that  alone.  Skill  in  etching 
is  always  complicated  with  considerations  of  feeling  and 
knowledge  ; if  you  eliminate  these  anybody  may  etch,  be- 
cause anybody  can  make  lines  on  a varnished  plate  as  clear 
and  free  as  Haden’s. 


DIFFICULTIES  AND  FACILITIES. 


23 


When  Mr.  Palgrave  says  that  “ the  highest  skill  in  etching 
might  be  reached  sooner  than  the  skill  to  lay  one  square 
inch  of  even  lines  with  the  graver,”  he  does  not  tell  us  by 
what  sort  of  person  this  “ highest  skill  ” in  etching  might  be 
so  easily  reached.  This  is  unfortunate,  because  the  reader 
may  allowably  infer  that  average  humanity  is  understood. 

The  “highest  skill  in  etching”  cannot  be  reached  at  all 
by  the  average  aspirant.  Thousands  have  attempted  etch- 
ing, and  these  include  painters  of  considerable  artistic  culture 
and  experience.  In  this  multitude  you  cannot  find  thirty 
first-rate  etchers  : there  are  not  twenty,  there  may  be  ten. 
If  there  is  any  human  pursuit  wholly  inaccessible  to  men  of 
ordinary  powers,  it  is  etching.  In  this  respect  there  is 
nothing  comparable  to  it  except  poetry.  Patient  industry 
and  some  imitative  faculty  may  produce  a passable  engrav- 
ing ; learning  and  long  training  an  academic  picture  ; but 
nobody  can  be  taught  to  make  fine  etchings  or  fine  poems. 

Some  pursuits  require  long  labour,  but  reward  all  students 
of  fair  ability  who  are  willing  to  give  the  labour ; amongst 
these  are  the  common  trades  and  professions.  Other  pur- 
suits reward  a few  aspirants  richly  and  speedily,  but  to  men 
of  ordinary  organisation  give  no  return  for  a whole  life  of 
toil.  The  first  may  be  difficult,  but  are  yet  possible  to  all 
sane  men  at  the  price  of  ten  or  fifteen  years'  labour ; the 
second  may  be  what  is  called  “ easy,”  and  yet  to  nineteen 
men  out  of  twenty  absolutely  and  eternally  unattainable. 

The  highest  skill  in  poetry  might  be  reached  sooner  than 
a comprehensive  acquaintance  with  historical  literature. 

Yes,  if  you  presuppose  a Tennyson. 

The  greatest  technical  difficulty  of  etching — not  precisely 
a “ manual  ” difficulty,  for  it  depends  in  great  measure  upon 
the  use  of  the  mordant — is  the  difficulty  of  arriving  at  the 
relative  weights  of  dark  which  the  artist  desires. 

In  this  respect  etching  is  far  more  difficult  than  any  form 


24 


DIFFICULTIES  AND 


uf  art  where  results  are  immediately  visible.  An  artist 
may  be  able  to  get  the  tones  he  wants  in  sepia,  or  with  the 
pen,  and  yet  be  altogether  uncertain  with  the  etching- 
needle. 

Etching  is  here  more  difficult  than  line-engraving,  because 
the  engraver  sees  his  plate,  and  has  frequent  proofs  taken 
during  its  progress,  for  his  guidance. 

A negative  process  is  always  so  far  more  difficult  than  a 
positive  process.  Drawing  on  wood,  lithography,  and  the 
graphotype,  are  technically  easier  than  negative  etching. 

When  the  brush  can  be  used  for  shading,  instead  of  lines, 
there  is,  so  far,  greater  facility.  Setting  aside  the  difficulty 
of  colour,  painting  is  easier  than  etching. 

In  an  introductory  letter  by  M.  Charles  Blanc,  prefixed 
to  Lalanne’s  treatise  on  etching,  occurs  the  following 
passage  : — 

“ Ah ! si  les  dilettantes  qui  s’ennuient,  si  les  artistes  qui 
aiment  a fixer  une  impression  fugitive,  si  les  riches  qui  sont 
biases  sur  les  plaisirs  de  la  photographie  savaient  combien 
est  piquant  l’interet  de  l’eau-forte,  votre  petit  ouvrage  aurait 
un  succes  fou.  II  n’est  pas  jusqu’aux  femmes  dlegantes  et 
lettrees  qui,  fatiguees  de  leur  desceuvrement  et  de  leurs 
chiffons  ne  puissent  trouver  un  delassement  plein  d'attraits 
dans  l’art  de  dessiner  sur  le  vernis  et  d’y  faire  mordre  avec 
esprit  leurs  fantaisies  d’un  jour.” 

It  is  very  possible  that  if  ladies  in  general  were  to  take 
up  etching  as  they  took  up  potichomanie  a few  years  ago, 
the  sale  of  manuals  on  etching  might  become  very  consider- 
able, but  the  cause  of  true  art  would  gain  nothing  by  the 
spread  of  a delusive  fashion  of  that  kind.  In  the  whole 
range  of  the  arts  it  is  not  possible  to  suggest  one  so  unsuitable 
for  ordinary  amateurs.  Very  much  of  the  merit  of  an  etch- 
ing depends  upon  abstraction,  and  abstraction  requires  even 
greater  knowledge  than  elaboration.  Etching  must  be  done 


FACILITIES  OF  ETCHING. 


25 


rapidly  and  decisively,  whereas  when  the  untrained  draughts- 
man goes  fast  he  always  goes  wrong,  and  when  he  is  rigidly 
decisive  it  is  rigidity  in  error.  A process  to  suit  amateurs 
should  require  as  little  abstraction  as  possible,  and  allow  of 
as  much  hesitation  and  correction  ; above  all,  the  effects  of 
work  done  should  be  clearly  and  immediately  visible.  The 
most  suitable  art  for  amateurs  is  oil  painting  without  the 
embarrassment  of  colour.  A tube  of  flake  white  and  a tube 
of  Vandyke  brown,  a prepared  milled-board,  a selection  of 
hog  brushes,  and  a little  linseed  oil,  are  the  easiest  materials 
for  an  amateur  to  manage ; with  these  he  can  see  what  he 
is  doing,  and  may  correct  and  efface  as  much  as  ever  he 
pleases.1  But  a copper  plate  covered  with  black  varnish,  in 
which  every  line  shows  itself  in  glittering  metal,  an  arrange- 
ment of  shading  made  wholly  with  a view  to  a future  biting, 
a needle  that  slips  about  on  the  smooth  copper  every  time 
the  hand  trembles  or  hesitates  — these  are  not  favourable 
conditions. 

Having  quoted  two  writers  with  whom,  however  greatly 
we  may  respect  their  general  ability,  we  find  it  impossible  to 
concur  on  this  particular  question  of  the  supposed  facility  of 
etching,  it  is  agreeable  to  change  the  attitude  of  opposition 
for  that  of  cordial  approval,  and  conclude  the  chapter  with  a 
quotation  which  has  our  entire  adherence. 

In  the  “Fine  Arts  Quarterly”  for  June  1866,  a writer  who 
preferred  to  remain  anonymous,  but  who  gave  evidence  of 
unusual  knowledge  of  his  subject,  as  well  as  unusual  enthusi- 
asm for  it,  naturally  found  himself  obliged  to  notice  a delusion 
which,  however  unworthy  of  serious  attention,  too  generally 
detracts  from  the  estimation  of  etching  to  be  passed  over  in 
silence 

1 The  new  independent  art  of  charcoal  drawing  as  practised  by  the  clever  French- 
men who  invented  it,  or  rather  established  it  upon  a basis  of  its  own,  is  also  ex- 
ceedingly well  adapted  for  amateur  study ; and,  if  properly  pursued,  at  the  same 
time  very  instructive  and  rapidly  rewarding. 


26 


DIFFICULTIES  AND  FACILITIES. 


“ Of  all  modern  misapprehensions  connected  with  etching 
—once  accounted  an  art  in  which  only  a master  could  excel 
— is  that  which  supposes  it  to  be  particularly  suited  to  the 
half-educated  artist  The  experience  which  has  arisen  out 
of  close  observation  and  practice,  and  which  enabled  the  old 
etcher  to  express  himself  promptly  and  by  simple  means,  is 
in  these  days,  it  would  seem,  a proof  that  his  treatment  is 
loose,,  and  that  he  deals  only  in  indications.  The  fact  that 
he  has  learned  to  select  essentials  and  reject  non-essentials, 
and  especially  if  he  is  able  to  do  this  before  nature,  that  he 
is  merely  sketching ; in  short,  the  very  qualities  which  even 
a great  artist  is  the  last  to  arrive  at — simplicity  and  breadth 
— are,  for  some  unaccountable  reason,  quoted  to  his  preju- 
dice if  he  happens  to  be  able  to  observe  them  on  copper. 
For  ourselves,  we  are  well  persuaded  that  etching,  of  all  the 
arts,  is  the  one  least  fitted  to  the  amateur  ; supposing,  of 
course,  the  amateur  to  be  the  person  he  is  generally  described 
to  be.  But  there  are  amateurs  of  different  degree.”  1 

1 The  central  difficulty,  of  a technical  kind,  in  etching,  and  at  the  same  time  a 
difficulty  peculiar  to  this  art,  is  the  biting.  By  great  delicacy  of  observation  and 
keenness  of  judgment  in  guessing  how  something  is  going  on  which  you  can  never 
quite  clearly  see,  you  may  finally  overcome  this  difficulty  enough  for  practical  pur- 
poses ; that  is  to  say,  you  may  bite  accurately  enough  for  the  plate  to  be  brought 
right  ultimately  by  re-biting  and  partial  rubbing-out  with  charcoal,  but  there  will 
ever  remain  a degree  of  uncertainty  about  biting,  which  is  a very  great  difficulty 
indeed.  The  reader  will  find  much  more  on  this  subject  towards  the  end  of  the 
volume. 


CHAPTER  III. 


THE  POPULAR  ESTIMATE  OF  ETCHING. 

I 

'J'HE  existence  of  the  art  of  etching  is  not  yet  generally 
known.  The  word  is  generally  known,  but  not  the 
meaning  of  it.  As  we  have  already  observed,  the  word 
‘‘  etching/’  in  non-artistic  circles,  is  used  to  express  drawing 
in  pen  and  ink. 

A curious  sign  of  the  degree  of  art-culture  supposed  to  be 
generally  attained  by  our  educated  public  is  that  the  writer 
in  the  “Times”  newspaper,  when  reviewing  Haden’s  etchings, 
found  it  necessary  to  preface  his  observations  with  a brief 
account  of  the  process  by  which  they  were  produced. 
Another,  and  perhaps  still  more  significant  fact  is  that,  when 
a recent  publication  of  the  Etching  Club  was  issued,  the 
subscribers  were  informed  that  “ these  etchings  were  drawn 
on  copper  by  the  artists  themselves,  and  are  not  touched  by 
any  engraver.” 

When  a person  has  become  clearly  aware  of  the  existence 
of  etching  as  an  art  distinct  from  pen-drawing,  and  not  in- 
tended to  be  an  imitation  of  it ; when  he  knows  that  an 
etched  line  is  bitten  by  acid  in  copper  or  steel,  and  that  the 
rest  of  the  plate  is  covered  with  varnish,  the  line  having  been 
laid  bare  by  the  passage  of  a needle  which  has  removed  the 
varnish  along  its  course,  then  he  has  reached  the  first  stage 
in  the  knowledge  of  the  art.  But  he  may  still  be  liable  to  a 
wrong  estimate  of  etching,  though  he  understands,  in  a rudi- 
mentary way,  its  processes.  He  may  believe  it  to  be  an  un- 
finished or  inferior  kind  of  engraving.  An  old  printer,  who 


28 


THE  POPULAR  ESTIMATE 


occasionally  printed  painters’  etchings,  but  was  more  com- 
monly employed  upon  engravings,  divided  the  etchings  of 
engravers  and  those  of  painters  into  two  categories,  as  being 
“ finished”  and  “ unfinished.”  The  plates  of  Rembrandt  were 
not,  in  his  view,  completed  works,  but  attempts  at  engraving, 
which  had  stopped  far  short  of  completion,  because  the  artist 
was  unable  to  carry  them  farther. 

There  exists  also  an  idea  that  etching  is  an  “ imperfect 
art.”  It  is  not  more  imperfect  than  line-engraving,  though 
its  limitations  are  different.  Every  art  has  its  limitations. 
No  sculptor  could  ever  carve  a tree  in  marble,  and  yet  we 
do  not  speak  of  sculpture  as  an  “ imperfect  art.”  The 
powers  and  limitations  of  etching  are  fairly  examined  else- 
where in  this  volume,  and  the  writer’s  conclusion  is  by  no 
means  unfavourable.  Indeed,  it  is  easy  to  show  that  the  art 
is  unusually  versatile. 

A notion  which  could  grow  up  nowhere  but  in  England, 
the  natural  home  of  theories  about  the  dignity  of  occupa- 
tions, is,  that  etching  is  beneath  the  attention  of  great 
painters.  The  writer  actually  met  with  a printseller  who 
considered  it  beneath  Landseer’s  dignity,  as  a knight  and 
Academician,  to  condescend  to  etch ! No  serious  refutation 
can  be  given  to  objections  of  this  kind. 

These  signs  of  apathy  are  briefly  noticed  here  to  mark 
the  stage  we  are  just  leaving.  The  reception  of  Mr.  Haden’s 
etchings,  and  especially  the  intelligent  and  abundant  criticism 
which  hailed  them  in  the  periodical  press,  was  the  dawn  of  a 
greater  enlightenment.  Indifference  to  etching  is  wholly  in- 
compatible with  high  art-culture  ; and  if  we  really  advance, 
as  we  suppose  ourselves  to  do,  the  true  rank  and  importance 
of  the  greatest  of  the  linear  arts  cannot  long  remain  hidden 
from  us. 

Much  of  the  enjoyment  which  we  derive  from  art  con- 
sists in  recognition  of  the  truths  which  the  artist  intended  to 
express.  But  people  recognise  only  what  they  already 


OF  ETCHING . 


2$ 


know  ; therefore  this  pleasure  is  very  slight  at  first,  and  in- 
creases with  our  acquired  knowledge.  And  there  are  certain 
forms  of  art  so  strangely  abstracted  and  abbreviated,  that 
very  great  knowledge  is  required  in  the  spectator  to  read 
them  at  all,  just  as  it  is  necessary  to  understand  a language 
thoroughly  if  we  would  read  letters  in  it  in  a hurried  hand- 
writing, full  of  marks  and  abbreviations  peculiar  to  the 
individual  writer.  To  the  informed  judge,  this  kind  of 
artistic  expression  is,  from  its  perfect  frankness,  peculiarly 
interesting ; to  the  ordinary  spectator  it  is  uninteresting, 
because  illegible. 

The  art  of  etching  has  no  mechanical  attractiveness.  If 
an  etching  has  no  meaning  it  can  interest  nobody ; if  its 
significant  lines  are  accompanied  by  many  insignificant  ones, 
their  value  is  neutralised.  But  if  all  the  lines  are  significant 
and  the  spectator  unable  to  read  their  meaning,  they  must 
seem  to  him  quite  as  worthless  as  those  of  a bad  etching 
seem  to  a thorough  critic. 

Much  of  the  popularity  of  engravings  is  due  to  the  neat- 
ness of  the  mechanical  performance,  which  all  recognise. 
Machine-ruling  is  agreeable  because  it  is  so  neat  and  regular; 
mezzotint  is  pleasant  because  it  is  rich  and  soft ; some  oil- 
painting  looks  marvellously  smooth.  Almost  every  art, 
except  etching,  has  some  external  charm  of  this  kind,  which, 
independently  of  mental  expression,  serves  to  secure  the 
approbation  of  the  vulgar.  It  is  because  etching  has  no 
attraction  of  this  kind  that  it  is  not,  nor  can  be,  popular. 

Since,  however,  etching  relies  on  qualities  of  sterling 
value,  it  can  never  cease  to  be  highly  appreciated  by  a 
limited  public  of  its  own  ; and  in  countries  where  general 
art-culture  is  on  the  increase,  this  little  public  must  always 
be  adding  to  its  strength,  and  better  able  to  make  its 
opinion  listened  to. 

This  little  public,  loving  the  art  on  high  grounds,  is 
naturally  fastidious.  The  buyers  of  etchings  are  more  diffi- 


3o  THE  POPULAR  ESTIMATE  OF  ETCHING. 


cult  to  please  than  the  buyers  of  pictures.  The  extensive 
sale  of  bad  etchings  would  do  no  good  to  the  art,  and,  if 
etching  were  popular,  it  is  likely  that  many  etchers  would 
work  down  to  a low  popular  standard,  as  so  many  painters 
are  in  these  days  compelled  to  do  or  starve. 

It  is  a matter  less  for  regret  than  congratulation  that  an 
art  should  exist  safe  from  the  baneful  influences  of  vulgar 
patronage.  This  is  the  good  side  of  unpopularity,  and  it  is 
enough  to  reconcile  all  who  truly  love  what  is  noble  and 
genuine  in  etching  to  the  general  neglect  of  it.1 

1 Since  this  was  written  etching  has  become  more  popular,  for  it  is  now  very  com- 
monly employed  in  the  illustration  of  works  upon  art,  artistic  periodicals  such  as  the 
“Gazette  des  Beaux-Arts,”  the  “Portfolio,”  the  “Beitschrift  fiir  Bildende  Kunst,” 
and  especially  to  illustrate  catalogues  of  picture  collections.  Much  technical  skill 
has  been  developed  by  this  kind  of  practice,  but  it  may  be  doubted  whether  it  is 
likely  to  make  the  public  understand  great  spontaneous  work  better  than  it  did 
before.  On  the  contrary,  the  more  we  are  accustomed  to  high  finish  of  this 
pictorial  kind,  the  less  are  we  likely  to  tolerate  what  may  seem  to  us  a ruder 
expression.  Besides,  the  expression  of  original  thought  in  etching,  which  is  the. 
essence  of  the  art,  is  as  little  encouraged,  with  one  or  two  exceptions,  as  ever  it 
was.  Etching  is  now  extensively  used  as  one  of  the  forms  of  engraving,  for  the 
interpretation  of  pictures  not  painted  by  the  etcher,  but  it  is  almost  impossible  for 
an  etcher  to  live  by  original  work,  however  excellent. 


CHAPTER  IV. 


THE  INFLUENCE  OF  CONNOISSE  UR  SHIP. 

rjpHE  greatest  evil  in  the  present  relation  of  etching  to 
the  public  is,  that  in  the  little  world  that  really  cares 
for  it  there  should  exist  a too  considerable  proportion  of 
persons  who  are  rather  connoisseurs  than  amateurs.  The 
distinction  between  the  two  is  worth  insisting  upon,  because 
true  amateurs  can  do  nothing  but  good  to  any  art,  whilst 
connoisseurs,  though  of  use  in  their  way,  and  even  necessary 
in  small  numbers,  mix  their  usefulness  with  much  that  is 
positively  harmful. 

A genuine  amateur  is  a person  who  values  art  because  it 
is  good  as  art,  and  not  because  it  is  dear  and  rare.  A 
genuine  amateur  looks  for  artistic  merits  alone,  and  is  so 
entirely  free  from  the  passion  of  curiosity-hunting,  that  he 
guards  himself  against  the  curiosity-madness  as  a man  with 
a great  moral  ideal  guards  himself  against  dipsomania. 
The  love  of  curiosity-collecting  seems  to  him  a weakness, 
having  some  possible  utility  in  the  preservation  of  certain 
objects  in  a half-civilised  century  like  this,  and  so  to  be 
tolerated  till  we  finally  emerge  from  the  condition  of 
savagery ; but  he  sees  clearly  that  it  is  not  a love  of  art. 
Somebody  with  the  curiosity-mania  happens  to  take  up 
button-collecting,  or  cork-collecting,  or  autograph-collecting, 
or  by  accident  he  may  be  turned  to  the  collecting  of  etch- 
ings, which,  on  account  of  rare  states,  offers  as  much  to 
interest  him  as  anything  else ; but  the  true  amateur  knows 
the  difference  between  this  fancy  and  the  love  of  art  for  its 


32 


THE  INFLUENCE  OF 


own  sake.  One  such  amateur  said,  “ I earnestly  wish  that 
all  works  of  art,  good,  bad,  and  indifferent,  were  just  worth 
as  much  as  a gallon  of  atmospheric  air,  and  no  more  ; we 
should  find  out  then  who  loved  art  and  who  didn’t.”  A 
man  who  could  say  that,  and,  having  a collection  of  his 
own,  wish  it  heartily,  had  the  spirit  of  the  noblest  amateur- 
ship.  That  spirit  desires  what  is  good,  but  takes  no  pride 
in  the  exclusive  possession  of  it,  and  only  wishes  that  others 
might  have  the  good  things  also,  and  the  ability  to  enjoy 
them.  If  I have  a rare  etching  by  Rembrandt,  and  am 
happy  and  proud  that  other  people  want  it,  and  envy  me 
because  they  cannot  get  it,  I lie  in  the  slough  and  mire  of  a 
low  egotism,  and  if  I glorify  myself  as  a lover  of  art  on 
these  grounds  I deserve  no  good  report.  A fair  test  of  true 
amateurship  is  the  way  people  take  the  recent  discovery  of 
steeling.  In  former  times  an  etching  on  copper  yielded  a 
few  hundred  impressions,  and  a dry-point  about  one-tenth 
of  the  number,  before  the  plate  was  worn  into  worthlessness. 
The  finest  impressions  were  the  earliest,  and  when  the  plate 
became  old  it  yielded  impressions  so  wretched,  that  copies 
of  the  finest  Rembrandts,  in  the  last  stage  of  their  existence, 
are  now  not  worth  in  the  market  more  than  a thousandth 
part  of  the  value  of  the  earlier  proofs,  whilst  the  difference 
in  artistic  estimation  would  be  much  wider,  being  infinite. 
But  in  these  latter  days  an  ingenious  Frenchman  has  called 
in  electricity  to  remedy  this  evil.  He  covers  a copper  plate, 
after  it  is  engraved,  with  a coating  of  steel  so  infinitesimally 
deep,  that  it  does  not  fill  up  the  lightest  scratch  of  the  dry- 
point.  During  the  printing  it  is  this  coating  of  steel,  and 
not  the  copper,  which  has  to  bear  the  friction ; and  when 
the  steel  is  worn  through  in  any  place  it  is  easily  removed 
by  a solvent  which  does  not  hurt  the  copper,  after  which  the 
plate  may  be  re-steeled,  and  this  may  be  repeated  over  and 
over  again,  so  that  immense  editions  of  etchings  may  in 
these  days  be  printed,  without  friction  on  the  copper,  only 


CONNOISSE  UR  SHIP. 


33 


on  its  thin  steel  coat.  It  follows,  of  course,  that  unless 
especial  care  is  taken  not  to  benefit  by  this  discovery,  the 
days  of  rare  fine  proofs  in  work  done  after  this  time  are 
over.  Everybody  will  be  able  to  get  good  proofs  of  the 
work  of  etchers,  just  as  everybody  is  able  to  get  a correct 
edition  of  Scott  or  Byron.  Now  this  discovery  is  hateful  to 
lovers  of  etchings  as  curiosities,  and  altogether  acceptable 
and  delightful  to  true  amateurs  of  art.  A true  amateur 
hates  an  impression  from  a worn  plate,  not  because  it  is 
common,  but  because  it  is  bad  as  art  : the  relations  of  tone 
having  all  gone  wrong,  and  the  most  delicate  lines  being 
lost  altogether;  but  the  curiosity-hunter  hates  worn  impres- 
sions chiefly  because  they  are  common,  and  may  be  had  of 
the  low  printsellers  on  the  Ouai  des  Augustins,  at  ten  sous 
a-piece.  The  true  amateur  is  glad  of  a discovery  which 
will  make  good  etchings  cheap  by  mere  multiplicity  of  good 
impressions,  so  that  nobody  will  be  tempted  to  exhaust  a 
plate.  Would  it  be  a bad  thing  if  there  were  a million 
perfect  copies  of  Rembrandt’s  finest  works  ? Are  there  not 
a million  copies  of  Hamlet,  and  do  we  value  Shakspeare 
the  less  for  his  boundless  publicity  and  illimitable  possibility 
of  reproduction  ? 

Amateurship,  in  the  higher  sense,  means  the  state  in 
which  the  love  of  art  is  chief,  and  everything  else  sub- 
ordinate. In  connoisseurship,  knowledge  is  chief,  and  the 
pride  of  knowledge,  love  being  subordinate  or  non-existent. 
The  glory  of  connoisseurship  is  to  have  ascertained  and  to 
possess  in  perfect  readiness  many  facts  relating  to  work 
done  by  famous  men ; and  these  facts  have  very  often  no 
connection  whatever  with  artistic  quality  or  natural  truth. 
It  is  a great  thing  for  a connoisseur,  for  instance,  to  know 
whether  a plate  is  rare  or  common,  a matter  which,  artisti- 
cally, is  of  absolute  indifference.  Another  great  point  in 
connoisseurship  is  to  be  aware  of  the  indications  by  which 
different  states  are  determined  ; for  instance,  if  in  the  first 

D 


34 


THE  INFLUENCE  OF 


state  of  a certain  plate  by  Rembrandt  the  end  hair  in  a 
dog’s  tail  has  a bur,  and  if  in  the  second  state  this  bur  has 
been  removed  with  the  scraper,  a professed  connoisseur 
could  scarcely  avow  his  ignorance  of  the  fact ; whilst  from 
the  artistic  point  of  view  ignorance  of  such  details  is  per- 
fectly avowable,  and  is  of  no  importance  unless  they 
seriously  affect  the  artistic  quality  of  the  work.  No 
amateur  need  be  ashamed  of  not  having  the  peculiar  kind 
of  knowledge  which  belongs  to  connoisseurs.  When  Pro- 
vidence ordained  that  there  should  be  connoisseurs,  it  was 
with  a view  to  the  preservation  of  thousands  of  minute 
facts  which  the  artistic  class  would  have  despised  too  much 
to  treasure  them  for  the  benefit  of  mankind.  As  the  mania 
for  collecting  curious  things  has  rendered  the  general  service 
of  preserving  much  that  is  valuable  as  an  illustration  of  the 
past,  so  the  instinct  which  leads  men  to  collect  odd  facts 
makes  these  men  of  use  as  living  books  of  reference. 

The  good  which  connoisseurs  do,  is  to  hand  down  from 
generation  to  generation  a mass  of  interesting  traditions  or 
discoveries  about  what  has  been  done  in  art  ; the  evil  which 
they  do  is  to  produce  a too  general  impression  that  this  kind 
of  knowledge  is  the  knowledge  of  art  itself.  It  cannot  be 
too  clearly  stated  or  understood  that  a man  may  have 
immense  artistic  and  critical  acquaintance  with  some  branch 
of  the  fine  arts  and  yet  not  be  a connoisseur  at  all ; or  he 
may  be  an  accomplished  connoisseur  in  the  usual  accepta- 
tion of  the  word,  and  yet  have  very  little  artistic  or  critical 
acquirement.  You  find  connoisseurs,  who  really  are  con- 
noisseurs— that  is  to  say,  they  can  tell  you  who  did  a thing 
and  when,  and  give  a shrewd  guess  as  to  the  price  it  would 
be  likely  to  fetch  in  the  market — and  yet  these  men  can 
neither  draw  themselves,  nor  tell  good  drawing  from  bad 
when  they  see  it.  They  recognise  works  of  art  as  we  re- 
cognise mens  faces,  without  artistic  study.  They  can  tell 
the  touch  of  an  artist  as  we  know  the  handwriting  on  the 


CONNOISSE  UR  SHIP. 


35 


back  of  a letter,  without  waiting  to  see  the  signature. 
People  hear  them  talk  about  rare  impressions,  and  curious 
states  of  the  plate,  till  they  are  finally  persuaded  that  the 
study  of  art  means  this,  and  nothing  better  than  this. 

Connoisseurs  when  they  are  rich  are  naturally  collectors, 
and  even  when  a collector  in  his  heart  holds  such  knowledge 
as  theirs  in  slight  esteem,  compared  with  the  higher  know- 
ledge of  artists  and  true  critics,  he  is,  nevertheless,  compelled 
to  become  a connoisseur  in  self-defence.  It  is  not  safe  to 
buy  old  etchings  without  being  guided  in  some  measure 
by  connoisseurship,  either  in  your  own  person,  or  in  the 
person  of  some  quite  faithful  friend.  Books  written  by 
connoisseurs  are  very  useful,  as  they  save  one  the  trouble  of 
remembering  the  facts  they  are  always  ready  to  communi- 
cate. 

The  difference  between  connoisseurs  and  amateurs  in 
etching,  accurately  corresponds  to  that  between  bibliographers 
and  readers  in  literature.  You  may  be  great  in  the  know- 
ledge of  the  editions  of  books,,  or  great  in  the  knowledge  of 
the  mental  wealth  of  books.  If  an  edition  is  correct  and 
legible,  the  wants  of  the  student  are  satisfied  ; but  the  book 
collector  prefers  a faulty  edition  if  it  is  rarer,  and  buys  books 
less  because  they  are  good  literature  than  as  rare  and  valu- 
able curiosities.  How  seldom  are  great  collectors  great 
readers ! how  still  more  seldom  are  they  select  and  critical 
readers ! And  so  it  is  in  the  fine  arts ; connoisseurship 
seems  little  favourable  to  the  study  of  the  minds  of  great 
artists.  The  habit  of  keenly  looking  for  small  facts,  and 
constantly  making  small  observations,  diverts  the  attention 
from  the  mighty  powers  of  the  immortals. 


CHAPTER  V. 


CRITICISM  AND  PRACTICAL  WORK. 

N EITHER  amateurship  nor  connoisseurship  is  neces- 
sarily critical.  An  amateur  is  merely  a person  who 
loves  art,  and  a connoisseur  is  a person  who  knows  one  thing 
from  another,  which  need  not  be  on  grounds  of  artistic  merit. 
A critic  requires  other  qualifications. 

It  has  often  been  asserted  that  the  labours  of  artist  and 
theorist  are  incompatible,  and  that  it  is  useless  to  attempt 
both.  By  an  irresistible  instinct,  however,  some  men  are 
driven  to  do  both,  and  cannot  endure  to  give  up  either, 
practice  seeming  to  them  to  be  enlightened  and  guided  by 
theory,  and  theory  to  be  most  solidly  grounded  on  practice. 
The  two  seem  like  the  lame  man  and  the  blind  man,  theory 
being  lame  and  practice  blind  ; and  the  lame  man  in  the 
table  mounted  upon  the  blind  man’s  back,  and  they  both  got 
on  well  enough. 

But  it  is  true  that  artists,  as  they  are  generally  constituted 
and  educated,  cannot  be  just  critics,  though  their  criticism 
is  usually  interesting  if  the  necessary  allowance  is  made,  in 
each  case,  for  the  artist’s  point  of  view.  The  world  of  art 
is  divided  into  many  small  states  or  cliques,  each  as  violently 
prejudiced  against  the  others  as  the  common  people  in  every 
nation  are  against  foreigners.  International  criticism  is 
valuable  only  if  you  never  forget  the  nationality  of  the  critic. 
Englishmen  accuse  the  French  of  being  extravagant  and 
parsimonious  in  consecutive  sentences,  which  only  means 
that  the  French  spend  liberally  where  the  English  spend 


CRITICISM  AND  PRACTICAL  WORK. 


37 


little,  and  that  by  a necessary  compensation  the  French  are 
careful  where  the  English  are  liberal.  So  if  we  consider 
artistic  cliques  as  little  nations,  we  shall  find  all  pure  artists 
national,  and  criticising  other  cliques  in  that  national  way. 
But  the  critic,  in  reference  to  cliques,  must  be  cosmo- 
politan. 

Now  to  be  cosmopolitan  in  the  true  sense  does  not  mean 
to  be  ignorant  about  what  goes  on  in  different  nations.  A 
swallow  is  not  cosmopolitan  because  he  flies  over  many 
lands ; and  yet  the  present  tendency  of  thought  about 
criticism  is,  that  to  avoid  cliques  and  their  narrowness  it 
must  be  confided  to  men  who  are  just  as  much  outside  of 
the  art  world  as  swallows  are  of  the  human  world. 

No  person  outside  of  practical  art  can  criticise,  and  also 
no  practical  person  living  in  a narrow  clique  can  criticise 
justly.  The  true  critic  is  a person  who,  having  lived  within 
the  cliques  and  learned  their  languages,  can  get  outside  of 
them  at  any  time  by  an  effort  of  the  will,  and  see  them  all 
at  about  the  same  distance  from  himself.  He  knows  them 
from  within,  and  he  knows  them  from  without,  both  kinds  of 
knowledge  being  absolutely  indispensable  to  justice. 

It  is  one  of  the  current  commonplaces  that  the  age  we 
live  in  is  great  in  criticism  but  not  in  art,  and  the  present 
Lord  Lytton  made  a capital  fable  about  a certain  hen  and  a 
weasel,  the  hen  being  the  artist  laying  eggs,  but  in  such  dread 
of  the  weasel  (the  critic),  that  at  last  she  grew  confused  in 
mind,  and  dreamed  that  she  was  the  weasel  himself,  the  con- 
sequences being  as  follows  : — 

This  double  identity  made  up  of  two — 

Her  waking  and  sleeping  self — at  last, 

The  hen’s  life  into  confusion  threw 
And  over  it  daily  and  nightly  cast 
The  spell  of  a two-fold  trouble.  By  day 

She  lived  in  such  dread  of  her  midnight  dream 
That  at  length  not  an  egg  was  she  able  to  lay, 

Yet  this  daily  sterility  did  not  redeem 


CRITICISM  AND  PRACTICAL  WORK. 


35 


From  its  nightly  plague  her  spirit  tormented 
When  she  by  the  dream’s  transforming  power 

Changed  into  a weasel,  was  discontented 
At  finding  no  more  any  eggs  to  devour. 

So  are  we  : who  both  author  and  critic  in  one 
Miss  the  comfort  accorded  to  either  alone. 

By  alternate  creative  and  critical  powers 
Is  our  suffering  identity  sundered  and  torn. 

And  the  tooth  of  the  critic  that’s  in  us  devours 
Half  the  author’s  conceptions  before  they  are  born. 

This  is  admirably  well  put,  and  there  are  cases  of  which 
it  is  quite  true,  but  since  it  is  our  inevitable  fate,  as  moderns, 
to  become  critical  in  one  way  or  other,  our  only  chance  of 
safety  lies  in  being  critical  with  thoroughness  of  knowledge. 
There  may  have  been  unconscious  artists  in  former  times  ; I 
doubt  if  there  are  any  now  ; the  best  of  them  I know  com- 
bine, as  George  Eliot  does,  the  artist  and  critic  in  one  per- 
son, and  are  clearly  conscious  of  what  they  are  doing.  It 
may  be  quite  true  that  the  critic  in  them  devours  half  the 
authors  conceptions  before  they  are  born,  but  as  there  is  not 
time  in  an  artist’s  life  to  realise  more  than  about  one-tenth 
of  his  conceptions,  the  only  consequence  is  a more  careful 
selection  of  the  few  that  can  be  realised,  and,  notwithstand- 
ing their  critical  spirit,  artists  and  authors  are  as  prolific  as 
ever,  laying  as  many  eggs  as  their  predecessors,  and  hatch- 
ing them  too. 

As  artists  on  the  one  hand  try  to  enlighten  themselves  by 
criticism,  so  the  wisest  and  best  of  critics  endeavour  to  get 
light  through  practical  work.  Labour  of  that  kind  is  good 
because  it  shows  us  the  technical  limitations,  and  if  the 
critical  reader  comes  to  understand  etching  thoroughly  he 
may  compel  himself  to  a complete  analysis  by  copying 
works  by  different  great  masters,  not  on  paper,  but  on 
copper,  and  by  forcing  the  copper  to  give  the  same  results 
as  the  print  before  him.  Such  experiments  open  our  eyes 


CRITICISM  AND  PRACTICAL  WORK. 


39 


more  than  any  amount  of  time  spent  in  turning  over  prints 
in  a portfolio.  They  are  study  in  the  true  sense  of  the  word, 
and  they  have  a good  moral  effect  also,  for  they  make  us 
recognise  the  qualities  of  other  men  who  were  always  different 
from  ourselves,  and  in  most  cases  superior  to  ourselves. 
Consider  how  valuable  to  a critic  about  to  write  upon 
Rembrandt,  would  be  the  experience  of  a practical  kind 
which  Flameng  went  through  in  copying  many  of  his  etch 
ings ! It  would  be  half  an  education  in  itself. 

Let  us  believe,  what  is  assuredly  true,  that  criticism  and 
practice  may  work  harmoniously  together  in  the  same  mind 
if  only  they  are  wisely  directed,  and  that  the  critical  habit  of 
the  modern  intellect  does  not  inevitably  lead  us  to  sterility. 
Haydon  is  sometimes  quoted  as  an  example  of  the  bad 
effects  which  the  critical  habit  produces  in  an  artist,  but  all 
his  waste  of  effort  was  the  consequence  of  insufficient  critical 
culture.  Had  he  possessed  a truly  critical  culture  he  would 
have  avoided  the  waste  of  energy  which  we  deplore  in  him, 
and  either  produced  art-wrork  within  the  compass  of  his 
powers,  or  else  directed  them  to  other  objects.  So  in  a pro- 
fessed critic,  Mr.  Ruskin,  much  of  what  is  good  in  his  writing 
is  due  to  his  experience  of  practical  art-work,  and  where  he 
is  not  so  strong  the  weakness  may  generally  be  traced  to  a 
deficiency  of  practical  study.  Thus  he  is  strong  on  moun- 
tains and  architecture,  because  he  has  drawn  both  a great 
deal,  but  not  strong  on  figure-painting  because  he  has  drawn 
the  figure  very  little. 


CHAPTER  VI. 


FAVOURABLE  AND  UNFAVOURABLE 
ARTLSTLC  CONDLTIONS. 

C^UCCESS  in  etching  is  as  much  an  affair  of  organisation 
as  of  artistic  superiority.  Rembrandt  was  not  a greater 
artist  than  Phidias  ; but  Rembrandt  was  so  constituted  as  to 
be  the  very  type  of  etchers,  their  perfect  representative, 
whereas  we  may  be  sure  that  if  Phidias  could  have  tried  to 
etch  he  would  have  failed  altogether.1  So  amongst  living 
artists,  some  of  the  best  of  them  have  been  unable  to  etch, 
though  they  have  tried  to  do  so,  and  some  very  imperfeet 
artists  have  etched  well.  For  example,  James  Whistler  is  a 
strikingly  imperfect  artist,  but  he  is  a fine  etcher. 

This  may  seem  to  imply  that  etching  is  an  imperfect  art, 
a notion  I have  already  contended  against.  It  only  implies 
that  etching  is  an  art  which  pardons  some  imperfections  in 
favour’ of  some  good  qualities.  The  fact  is,  that  the  limits 
of  Whistler  as  an  artist  are  by  no  means  the  limits  of  the 
art  of  etching  ; that  what  he  does  in  it  is  good,  but  that  also 
other  things  may  be  done  in  etching  which  are  good,  and 
that  Whistler  cannot  do,  and  never  will  be  able  to  do.  But 
he  has  some  of  the  qualities  of  a great  etcher,  and  as  to  those 
qualities  which  he  has  not,  their  absence  is  not  seriously  felt, 
does  not  much  interfere  with  our  enjoyment  of  the  artist’s 
work.  For  it  is  the  glory  of  etching  that  it  never  exacts 

1 Phidias  might  have  used  etching  to  multiply  a sculptor’s  drawings,  just  as  he 
might  have  used  any  other  autographic  process,  but  it  is  highly  improbable  that  he 
would  have  developed  any  of  the  peculiar  qualities  of  the  art. 


ARTISTIC  CONDITIONS . 


41 


completion,  never  compels  an  artist  to  go  farther  than  he 
safely  can  go.  You  must,  of  course,  have  certain  positive 
qualities  to  be  able  to  etch  at  all ; but  if  you  have  these, 
your  want  of  other  qualities  is  not  likely  to  be  painfully  felt. 

The  conditions  which  are  favourable  and  unfavourable  to 
etching  may  be  broadly  divided  under  two  heads.  Lines  of 
study  which  tend  ultimately  to  concentration  are  so  far 
favourable  ; lines  of  study  which  tend  to  elaboration  are  un- 
favourable.1 It  does  not  signify  by  how  much  elaboration 
your  early  studies  may  pass,  if  they  tend  steadily  to  concen- 
tration, because  you  may  make  very  elaborate  studies  indeed 
with  the  deliberate  aim  of  learning  how  to  concentrate 
powerfully.  Some  of  the  most  powerful  masters  of  concen- 
tration have  begun  by  working  elaborately,  and  gradually 
eliminated  unnecessary  detail,  till,  by  a long  labour  of 
thoughtful  omission,  they  arrived  at  length  at  such  summary 
ways  of  work  as  best  suit  the  purposes  of  etching.  All  that 
has  to  be  insisted  upon  is  the  tendency  of  an  artist’s  mind 
and  work,  not  so  much  what  he  is  doing  at  any  particular 
time. 

Industry  cannot  make  an  etcher;  it  is  a question  of 
temperament,  with  some  industry  to  give  manual  skill. 
Slow  and  timid  temperaments  are  naturally  disqualified  for 
an  art  which  exacts  decision.  You  may  know  from  the 
pictures  of  an  artist  whether  he  has  a chance  of  becoming 
an  etcher.  French  painters  usually  etch  sooner  and  better 
than  Germans  ; and  the  English,  as  might  be  expected,  have 
facilities  which  lie  somewhere  between  the  two.  The  French 
have  a true  conception  of  etching  as  a rapid  and  compre- 
hensive art ; but  when,  as  often  happens,  there  is  no  genuine 
individual  faculty,  they  fall  into  emptiness  and  idle  scrawl- 

1 There  are  elaborate  etchings  which  are  also  good  ones,  but  these  are  rare,  and 
the  words  in  the  text  are  left  for  their  general  truth.  Besides,  even  in  the  most 
elaborate  plates  there  are  always  passages  of  rapid  and  concentrated  expression, 
quite  beyond  the  powers  of  a slow,  undecided  mind. 


42 


ARTISTIC  CONDITIONS. 


ing.  The  Germans  and  English  usually  fail  in  another  way. 
When  a Frenchman  cannot  etch,  he  flourishes  about  on  the 
copper  with  vain  efforts  at  brilliance  and  freedom ; when  a 
German  cannot  etch,  he  elaborates  the  most  highly-finished 
and  ridiculous  compositions.  The  English  have  hitherto 
preferred  to  fail  after  the  German  manner  ; but  it  is  probable 
that  since  the  influence  of  French  ideas  has  been  brought  to 
bear  upon  us,  our  bad  etchers  will  fail  rather  in  emptiness 
of  the  rapid  than  the  elaborate  kind.  It  signifies  nothing 
whether  empty  work  is  rapid  or  elaborate,  for  in  both  cases 
it  is  equally  worthless ; but  the  French  deserve  some  credit 
for  seeing  in  a dim  way  what  ought  to  be  aimed  at,  and  the 
Germans  are  a little  to  blame  for  their  wonderful  want  of 
perception  of  the  best  qualities  of  the  process. 

Sixteen  years  ago,  when  our  painters  were  tending  to 
elaboration  of  the  pre-Raphaelite  kind,  they  were  going  in  a 
direction  not  likely  to  qualify  them  for  etching.  Now,  when 
they  are  painting  more  and  more  on  the  principles  of  abstrac- 
tion, they  are  going  towards  that  condition  of  mind  in  which 
men  etch  well. 

It  deeply  concerns  an  artist’s  personal  comfort  whether, 
if  he  attempts  to  etch,  he  is  so  constituted  as  to  be  able  to 
etch  well  naturally.  No  art  is  more  discouraging  to  the 
unqualified  aspirant.  Etching  looks  so  delightfully  easy, 
that  the  disappointment  at  failure  is  proportionate  to  the  firm 
confidence  in  success.  A man  can  draw  well,  and  paint 
agreeably,  so  he  believes  that  he  will  soon  be  able  to  etch ; 
and  he  does  etch,  but  somehow  nothing  that  he  executes 
seems  to  have  the  right  degree  of  life  in  it ; it  is  life  en- 
tangled with  rigid  sinews  of  death,  and  veins  in  which  the 
blood  is  coagulated  and  cold.  This  is  because  his  artistic 
constitution  does  not  easily  throw  off  dead  and  superfluous 
matter.  It  throws  it  off  ultimately,  or  he  could  not  paint, 
but  it  does  not  get  rid  of  it  easily  and  at  once  ; and  there- 
i fore,  for  etching,  it  does  not  get  rid  of  it  in  time. 


CHAPTER  VII. 


COMPREHENSIVENESS. 

JN  the  planning  of  this  work,  I had  given  one  chapter  to 
abstraction,  and  another  to  comprehensiveness,  the  diffi- 
culty being  which  to  put  first.  It  seemed  best  to  put  com- 
prehensiveness first,  for  this  reason,  that  abstraction  was 
likely  to  be  misunderstood  without  it ; for  there  exist  many 
kinds  of  abstraction  which  could  only  do  harm  to  an  etcher, 
whereas  if  he  once  holds  the  idea  of  comprehensiveness  in 
all  its  breadth  of  meaning,  he  is  safe. 

An  artist  works  comprehensively  when  he  grasps  his 
whole  subject  at  once,  in  all  its  relations,  and  works  only 
with  reference  to  the  whole.  Etching  is  eminently  compre- 
hensive ; it  does  not,  like  other  branches  of  design,  encourage 
the  separation  of  natural  qualities,  and  the  exclusive  devotion 
to  one  of  them.  For  instance,  rigid  outline  drawing,  such 
as  we  find  on  Etruscan  vases,  is  strongly  opposed  to  the 
spirit  of  etching,  and  that  not  because  it  is  too  abstract,  but 
because  it  excludes  facts  interesting  to  etchers,  and  so  is  not 
sufficiently  comprehensive.  Again,  water-colour  blotting 
would  be  almost  as  much  opposed  to  etching,  though  in  an 
opposite  direction  ; for  here,  though  we  have  light  and  shade, 
and  though  things  are  seized  by  the  middle  instead  of  by 
the  contour,  we  suffer  from  a want  of  delicate  accentuation 
of  form.  If  a single  stroke  in  an  etching  is  inserted  with 
reference  to  form  only,  and  without  reference  to  the  general 
light  and  shade  arrangement  of  the  whole  work,  that  stroke 
will  go  far  to  ruin  it  ; or  if,  in  obedience  to  exigencies  of 


44 


COMPREHENSIVENESS. 


light  and  shade,  it  forgets  the  right  accentuation  of  form, 
then  there  will  be  so  much  the  less  of  that  brilliance  and 
life  on  which  the  power  of  etching  so  largely  depends. 

There  is  the  greater  need  to  insist  upon  comprehensive- 
ness that  our  painters  are  not  generally  remarkable  for  the 
possession  of  it.  They  too  often  study  things  one  after 
another  instead  of  seeing  them  all  at  once  ; and  the  art  of 
seeing  many  things  at  once  is  as  essential  to  harmony  in 
painting  as  the  corresponding  faculty  of  hearing  many 
sounds  at  the  same  time  is  to  the  enjoyment  of  harmony  in 
music.  It  is  not  enough  to  see  the  leaf,  or  even  the  branch, 
or  the  whole  tree ; we  must  grasp  the  entire  landscape,  or 
we  are  powerless.  Our  artists  do  sometimes  grasp  their 
subjects  largely,  and  then  they  might  succeed  if  they  were 
not  deterred  by  the  feeling  that  what  is  called  “ finish  ” is 
indispensable ; whereas  this  finish,  when  it  consists  in  mere 
elaboration  of  parts,  is  irretrievable  ruin.  The  study  of 
etching  may  have  the  happiest  influence  on  the  progress  of 
painting  itself,  for  it  leads  to  a conviction  that  comprehen- 
siveness is  the  first  of  artistic  necessities.  The  artist  who 
has  it,  and  keeps  it,  may  add  much  else  to  it  that  is  worth 
having — much  delicate  and  minute  observation,  much  craft 
of  arrangement  and  subtlety  of  hand.  But  for  the  painter 
or  etcher  who  has  it  not,  whatever  his  other  attainments,  they 
are  of  little  value,  because  they  can  never  display  themselves 
in  the  right  time  and  place  ; but,  like  the  reminiscences  of 
people  without  tact,  are  always  brought  upon  the  tapis  when 
they  can  create  nothing  but  irritation. 

So  long  as  we  refer  to  etching  alone,  we  cannot  prove 
the  full  value  of  the  great  qualities  on  which  success  in 
etching  depends.  A great  etching  is  the  product  of  a 
grandly  constituted  mind ; every  stroke  of  it  has  value 
exactly  proportionate  to  the  mental  capacity  of  the  artist ; 
so  that  a treatise  on  etching  is  necessarily  a treatise  on  the 
mental  powers  of  great  men. 


C OMPREHENSIVENESS. 


45 


Not  every  reader  would  see  at  a glance  whether  all  work 
was  comprehensive  or  not,  but  most  men  know  what  com- 
prehensiveness is  in  other  departments  of  human  endeavour. 
It  is  the  faculty  of  seeing  things  in  their  just  relations,  the 
faculty  which  checks  our  constant  tendency  to  absorption  in 
narrowing  specialities.  It  keeps  our  work  in  due  proportion, 
by  constantly  reminding  us  of  the  true  extent  of  its  great 
field,  for  it  embraces  the  whole  field  with  its  wide  vision. 
We  are  always  tempted  to  settle  in  some  pleasant  nook  or 
corner  of  our  possessions  and  leave  the  rest  uncultivated  ; 
but  if  we  have  comprehensiveness,  it  will  not  allow  us  to  do 
this.  The  most  striking  characteristic  of  the  comprehensive 
intellect  is  its  tolerance  of  necessary  local  evils  and  imper- 
fections, its  anxiety  for  great  results  only,  and  carelessness 
of  partial  success.  It  is  the  faculty  of  generalship,  which 
knows  that  no  battle  can  be  won  without  sacrifice,  and 
consciously  pays  a price  for  its  victories. 

In  ordinary  life  much  of  the  narrowness  that  leads  to 
intolerance  and  Philistinism  comes  from  the  weakness  of  this 
faculty.  This  narrowness  is  the  essence  of  provincialism,  of 
the  prejudices  of  caste,  of  that  kind  of  patriotism  which  is 
only  the  provincial  spirit  on  a larger  scale.  In  literature, 
the  want  of  comprehensiveness  leads  to  an  infinite  amount 
of  wordy  controversy.  A hundred  writers  see  a hundred 
aspects  of  the  truth,  and  each  copiously  argues  that  his  own 
view  is  the  only  view  worth ’considering.  Want  of  compre- 
hensiveness is,  however,  of  less  consequence  in  current  litera- 
ture, especially  in  periodical  literature,  than  in  the  fine  arts, 
because  unity  is  less  necessary  in  articles  than  in  pictures,  or 
statues,  or  etchings.  Many  articles  serve  the  useful  purpose 
of  drawing  attention  to  the  subjects  they  treat  of,  without 
being  in  themselves  proportioned  works  of  art ; they  are 
merely  the  talk  of  the  day,  well  expressed  and  widely  circu- 
lated. But  a picture  or  an  etching  is  more  than  this,  or  at 
least  aspires  to  be  more.  It  aspires  to  have  artistic  value ; 


46 


COMPREHENSIVENESS. 


and  there  is  no  artistic  value  without  unity,  and  unity  is  the 
result  of  comprehensiveness. 

But  may  not  unity  come  from  a certain  narrowness  also  ? 
May  not  the  comprehensive  intellect,  which  is  alive  to  so 
many  aspects  of  things,  introduce  the  fruits  of  too  various 
observations,  and  end  by  producing  discord  out  of  its  very 
opulence  ? 

This  danger  exists  so  long  as  an  intellect  is  becoming 
comprehensive,  because,  in  this  condition  of  gradual  exten- 
sion, the  newest  acquisition  always  has  an  exaggerated 
importance,  and  is  likely  to  be  displayed  and  insisted  upon 
disproportionately,  and  even  out  of  season.  And  there  is  a 
narrowness  which  ensures  a relative  and  unenviable  safety ; 
but  we  are  not  the  less  bound  to  urge  the  desirableness  of 
cultivating  a large  and  comprehensive  spirit.  Above  all,  it 
should  be  well  understood  that  etching  is  not,  as  some 
imagine,  a fit  pastime  for  small  minds  ; but  that,  on  the 
contrary,  its  great  glory  is  to  offer  the  means  of  powerful 
and  summary  expression  to  the  largest.  And  we  may  be 
assured  that  for  a brief  expression  to  be  powerful  it  must  be 
concentrated  from  large  masses  of  acquired  knowledge.  I 
know  not  how  many  roses  are  needed  for  one  small  phial  of 
precious  attar,  but  I know  that  there  rises  from  every  good 
etching  such  a perfume  of  concentrated  thought  that  a million 
flowers  must  have  bloomed  for  it  in  the  garden  of  some 
fertile  and  cultivated  mind. 


CHAPTER  VIII. 

ABSTRACTION. 

J7TCHING  does  not  proceed  so  much  by  abstraction  as 
by  comprehensive  selection  ; but  abstraction  has  some 
place  in  the  art,  nevertheless,  and  is  to  be  admitted  frankly 
on  certain  occasions,  and  in  a modified  way  very  generally. 

To  understand  what  abstraction  in  art  is,  little  more  is 
necessary  than  a reference  to  ancient  sculpture  and  design, 
especially  Assyrian  or  Egyptian.  That  abstraction  was 
instinctive,  and  therefore  in  the  best  periods  as  much  above 
criticism  as  the  instinctive  labours  of  the  lower  animals. 
What  the  Egyptian  and  the  Assyrian  both  did,  and  what 
even  the  more  thoughtful  Greek  did  also,  though  in  a more 
beautiful  way,  was  to  take  certain  facts  of  nature  and  leave 
the  rest.  The  facts  which  were  taken  were  then  treated 
arbitrarily,  or  according  to  the  dictates  of  fixed  customs. 
The  facts  which  were  left  were  no  more  regarded  than  if 
they  had  never  existed. 

Abstraction  may  be  of  the  most  opposite  kinds.  There 
is  the  abstraction  of  a Greek  vase,  and  the  abstraction  of  a 
blot  by  David  Cox.  In  the  first,  outline  is  the  truth  pre- 
served, and  effect  the  truth  sacrificed  ; in  the  second,  outline 
is  sacrificed  and  effect  preserved.  And  there  are  abstrac- 
tions within  abstraction.  Thus,  in  outline  work,  we  may 
purposely  eliminate  all  lines  that  are  expressive  of  softness 
and  feebleness,  so  as  to  give  a character  of  severity  to  our 
work ; or  we  may  eliminate  the  lines  of  strength,  and  lend  a 
yet  greater  languor  to  those  of  tenderness  and  voluptuous- 


48 


ABSTRACTION. 


ness.  And  in  the  modern  blot  for  effect  we  may  be  taking 
one  set  of  tones  or  another,  since  complete  imitation  of  tones 
is  as  impossible  as  complete  imitation  of  lines,  and  artists 
take  what  they  want  of  each,  and  that  only. 

Now  the  kinds  of  abstraction  commonly  resorted  to  in 
etching  are  two.  First,  when  an  etcher  knows  that  his  art 
cannot  really  imitate,  he  resorts  to  abstraction,  and  boldly 
interprets.  Secondly,  when  he  could  get  nearer  to  imitation 
if  he  chose  to  spend  the  time,  but  does  not  choose,  then  also 
he  works  in  an  abstract  manner. 

If  there  is  a strong  probability  that  your  technical  skill 
will  not  carry  you  through  some  difficult  bit  of  imitation, 
give  us  rather  a piece  of  abstraction,  however  rude,  which 
may  show  that  you  have  understood  the  thing  to  be  rendered. 
In  the  works  of  great  etchers  there  is  every  conceivable 
shade  of  gradation,  from  the  most  marvellous  imitation  tc 
the  strongest  abstraction.  Even  in  the  same  plate  we  ma) 
often  trace  varieties  of  this  kind.1  Imitative  finish  may  be 
given  to  some  central  point  of  interest,  and  the  execution  of 
the  rest  of  the  work  may  become  more  *and  more  frankly 
abstract  till  it  reaches,  in  the  outline  of  some  cloud  or  dis- 
tance, an  abstraction  as  great  in  its  way  as  that  of  an 
Assyrian  bas-relief. 


1 A very  remarkable  and  well-known  instance  of  this  is  Rembrandt’s  famous 
Hundred  Guilder  Print.  The  figures  in  the  centre  and  those  to  the  right  are 
wrought  on  principles  of  mingled  imitation  and  abstraction,  certain  details,  as,  for 
instance,  the  near  arm  and  hand  of  the  praying  figure  close  to  J esus,  being  almost 
purely  imitative  ; but  in  the  figures  to  the  spectator’s  left  the  principle  of  abstrac- 
tion predominates,  and  to  such  a degree  that  a child’s  head  is  drawn  in  pure  out- 
line, and  five  or  six  strokes  of  the  point  are  made  to  do  duty  (very  efficiently)  for  a 
man’s  beard.  Rembrandt’s  work  generally  is  a sort  of  play  between  the  extremes 
of  imitation  and  abstraction,  the  degree  of  either  that  he  chose  to  give  being 
dependent  on  his  own  momentary  caprice — a caprice,  however,  that  was  generally 
influenced  by  subtle  artistic  considerations.  For  example,  in  the  etching  just  re- 
ferred to,  Rembrandt  used  much  abstraction  in  the  figures  to  the  left,  because  it 
permitted  him  to  leave  a great  deal  of  white  paper  as  a contrast  to  the  dark  shades 
on  the  right  of  the  composition,  and  by  this  artifice  he  gained  much  breadth. 


ABSTRACTION. 


49 


Abstraction  does  not  appear  to  be  a rare  power.  Every- 
body is  in  the  habit  of  exercising  it  in  common  life.  It  is 
a common  means  of  making  things  intelligible,  and  abstract 
drawing  is  usually  more  intelligible  to  uneducated  persons, 
than  the  art  which  attempts  a full  rendering  of  nature. 
When  we  teach  children  to  draw,  we  begin,  as  the  Egyptians 
did,  with  rude,  firm  outlines ; when  we  narrate  events  to 
simple  people,  we  follow  the  same  method,  and  purposely 
leave  out  all  delicate  and  complicated  considerations.  It  is 
not  the  abstraction  of  etching  that  makes  it  unintelligible  to 
tne  people,  but  the  complexity  of  the  truths  which  it  attempts 
to  interpret  simultaneously.  A strong  outline  that  goes  all 
round  its  subject,  though  to  the  feeling  of  an  etcher  usually 
detestable,  would  be  easily  understood,  but  a fragmentary 
line  which  only  indicates  a quarter  of  a contour,  and  that 
probably  not  the  real  contour  after  all,  and  which  hints  half- 
a-dozen  things,  is  likely,  in  the  eyes  of  most  people,  to  mean 
exactly  nothing. 


E 


CHAPTER  IX. 


SELECTION. 


^^BSTRACTION  is,  of  course,  a kind  of  selection,  but 
it  is  not  the  kind  of  selection  that  I desire  to  speak 
of  here. 

Abstraction  is  too  analytic  a selection  for  our  present 
purpose.  The  artist  who  abstracts  does  not  make  a 
summary  of  the  whole  truth  before  him,  but  takes  out  a 
truth,  and  sets  it  forth  in  as  evident  a way  as  he  possibly 
can,  in  a much  more  evident  way  than  natures.  He  acts  as 
an  anatomist  who,  having  killed  a wild  animal  for  the  sake 
of  its  skeleton  only,  tore  away  every  fibre  of  muscle  and 
threw  it  to  his  dogs ; after  which  he  set  himself  to  clean  the 
bones  by  boiling  them,  and,  being  installed  in  his  museum, 
erected  his  white  and  perfect  bone  structure  without  a 
thought  of  the  flesh  that  the  dogs  devoured.  This  is  abstrac- 
tion— a process  of  analysis  followed  by  many  rejections  and 
few  reserves. 

The  selection  of  which  I would  now  speak  is  synthetic, 
and  its  object  is  to  remain  synthetic  to  the  utmost  possible 
extent.  It  does  not  try  to  detach  one  truth  from  its  fellows, 
but  to  give  the  sum  of  all  the  truths.  By  means  of  this 
synthetic  selection  a master  in  etching  will  fully  convey  the 
ideas  of  structure,  of  light  and  shade,  and  of  local  colour 
with  the  same  set  of  touches.  The  more  complex  the 
expression,  and  the  simpler  the  means  used,  the  greater  will 
be  the  power  of  the  master. 

In  the  infinite  treasuries  of  natural  truth  some  orders  of 


SELECTION . 


5i 


fact  are  better  suited  to  etching  than  others  are,  and  although 
the  comprehensiveness  of  the  great  etcher  makes  him  alive 
to  all  these  orders  of  fact,  his  judgment  in  selection  leads 
him  to  decided  preferences.  He  desires  to  be  as  synthetic 
as  possible  in  his  view,  and  as  broadly  receptive,  yet  he 
knows  the  limitations  of  his  art ; and  though  anxious  to 
express  the  sum  of  all  the  truths,  is  obliged  in  selection  to 
look  with  especial  care  for  the  kind  of  truth  which  etching 
renders  best.  This  is  done,  however,  in  the  case  of  every 
truly  noble  etcher,  in  simple  prudence,  not  from  pride — some- 
times indeed  from  real  humility,  as  when  a master  does  not 
like  his  own  more  elaborate  renderings  of  certain  truths,  and 
prefers  to  indicate  them  by  some  rapid  and  seemingly  care- 
less interpretation,  in  which,  if  there  is  any  contempt  at  all, 
it  is  not  of  nature,  but  of  the  artist’s  own  poverty  of 
resource. 

On  some  spots  on  the  coast  of  England,  especially,  if  I 
remember  well,  on  the  north  shore  beyond  the  castle  at 
Scarborough,  there  are  sands  mixed  with  fine  particles  of 
iron.  The  children  take  magnets  with  them  there,  and  so 
separate  the  iron  from  the  grains  of  sand.  They  want  the 
iron,  they  do  not  want  the  sand,  and  they  are  fortunate  in 
possessing  an  almost  magical  implement,  which  at  a touch 
separates  the  one  from  the  other. 

So  acts  the  selecting  genius  of  great  etchers.  Though 
truly  comprehensive  and  synthetic,  and  quite  remote  in 
general  feeling  from  the  abstraction  of  Assyrian  sculptors, 
they  find,  nevertheless,  in  nature  certain  treasures  to  them 
especially  precious,  and  which  they  easily  draw  to  themselves 
by  a constant  and  sublime  magnetism.  He  who  has  not  the 
magnet  cannot  select  in  this  unerring  way.  You  cannot 
teach  selection  of  this  kind  ; you  may  talk  and  write  till  you 
are  weary,  but  you  will  not  advance  one  student  a step 
nearer  to  the  mysterious  and  instinctive  power  of  choice, 
which  is  the  privilege  of  genius  alone. 


52 


SELECTION. 


All  that  can  be  done,  all  that  in  such  a treatise  as  this 
any  writer  can  be  expected  to  do,  is  to  remind  readers  if 
they  know  it  already,  and  tell  them  if  they  do  not,  that  this 
selection  is  essential  to  all  good  etching,  this  lordly  and  high 
choice,  which  is  authorised  by  the  most  comprehensive  know- 
ledge of  the  wealth  of  nature. 

But  selection,  I may  be  told,  even  selection  of  this 
synthetic  kind,  is  equally  necessary  in  painting,  and  therefore 
need  not  be  treated  of  here,  in  a book  devoted  to  what  be- 
longs peculiarly  to  etching.  It  is  necessary  in  all  painting, 
except  in  the  abstract  schools  which  reject  it  in  favour  of 
abstraction,  but  it  is  far  more  important,  relatively  to  other 
qualities,  in  this  more  rapid  and  summary  art  of  etching.  If 
a painter  cannot  select  at  once,  he  gets  the  superfluities  out 
of  his  work  by  a slow  and  painful  process,  like  a long  malady, 
or  hides  them  under  equally  superfluous  elaboration.  But  an 
etcher  who  cannot  select  rapidly  is  lost. 


CHAPTER  X. 


SENSITIVENESS. 

J FIND  that  great  etchers  are  decidedly  a more  sensitive 
body  of  men  than  line  engravers,  and  more  generally 
sensitive  than  some  celebrated  painters.  Certain  schools  of 
painting  have  definitely  encouraged  insensitiveness  to  whole 
orders  of  truth,  under  the  pretext  of  style  ; but  etching,  being 
an  obscure  and  neglected  art,  has  fortunately  been  too  much 
despised  by  the  professors  of  the  grand  style  to  be  very 
actively  injured  by  them.  If  any  student,  however,  chooses 
to  take  Agostino  Caracci  for  his  model,  he  may,  no  doubt, 
arrive  at  insensitiveness  even  in  etching. 

Sensitiveness  in  ordinary  life  is  so  often  spoken  of  as  a 
weakness  or  a fault,  so  often  attributed  to  morbid  conditions, 
that  it  is  needful  to  claim  a right  consideration  for  a kind 
of  sensitiveness,  which  is  neither  a fault,  nor  a weakness, 
nor  a disease.  The  work  of  the  great  men  is  usually  at  the 
same  time  both  exquisitely  sensitive,  and  capable  of  demon- 
strations of  strength  so  overpowering,  that  it  seems  brutal  to 
minds  which  have  neither  its  tenderness  nor  its  force.  The 
softer  intellects  are  not  rough  in  this  noble  way,  and  so  they 
resent  the  strong  markings  of  the  great  etchers  as  a kind 
of  affront  to  their  own  refinement ; but,  on  the  other  hand, 
neither  have  they  the  etcher’s  exquisite  sensitiveness,  and 
though  it  does  not  irritate  them  as  the  apparent  coarseness 
does,  it  gets  no  recognition  from  them,  and  remains  outside 
their  estimate  of  the  artist. 

Whoever  aspires  to  be  an  etcher  should  try  to  be  sensi- 


54 


SENSITIVENESS. 


tive  in  the  best  sense.  True  sensitiveness  is  not  disease, 
but  the  highest  life  of  the  purest  health.  It  is  easily  lost, 
in  the  turmoil  of  the  common  world,  or  so  far  injured  as  to 
leave  nothing  but  an  occasional  capability  of  noble  pleasure. 
How  are  we  to  keep  it  if  we  have  it  ? It  may  be  lost  in 
too  busy  intercourse  with  men,  but  so  also  it  dies  in  the  dull 
apathy  of  long  solitude,  and  the  Shepherd  on  Ben  Cruachan 
has  as  little  of  it  as  the  apprentice  in  the  Strand.  Its 
most  fatal  enemies  are  over-stimulus  and  deficiency  of 
stimulus. 

In  great  capitals,  the  over-stimulus  comes  in  a hundred 
forms.  One  very  injurious  form  of  it  is  too  many  pictures 
and  prints.  We  will  not  rail  against  exhibitions,  since  they 
are  inevitable,  and  the  best  method  hitherto  devised  for  the 
publication  of  new  paintings ; but  it  is  well  to  guard  our- 
selves against  the  invasion  of  mere  quantity.  No  man 
living  can  really  study  more  than  ten  fresh  works  of  art  a 
day  ; he  may  glance  at  more  in  order  to  select  the  ten,  but 
he  cannot  study  more.  Who  would  expect  any  one  to  read 
more  than  ten  volumes  a day  ? And  is  there  not  as  much 
in  a painting  or  etching  that  really  deserves  to  be  studied 
as  in  most  volumes  ? Londoners  and  Parisians  seem  to 
have  extensive  views  of  the  quantity  of  art  a man  may 
digest  in  a given  time ; and  so  far  as  I have  been  able  to 
calculate,  they  expect  a critic  to  make  up  his  mind  on  two 
hundred  pictures  per  day,  with  a stiff  volume  on  aesthetics, 
and  a new  book-illustrator  every  evening. 

Errors  in  this  direction  may  be  avoided  if  we  remember 
that  the  mind  has  a digestion  just  as  the  body  has,  and 
that  it  can  only  take  in  a certain  limited  quantity  of  aliment 
in  the  twenty-four  hours.  Excesses  are  paid  for  by  a loss 
of  tone,  a loss  of  sensitiveness,  a loss  of  appetite.  Then 
both  art  and  nature  lose  their  charm,  and  good  work  cannot 
even  be  enjoyed,  far  less  executed. 

In  the  country,  on  the  other  hand,  from  the  want  of  fresh 


SENSITIVENESS. 


55 


stimulus  in  the  sufficiently  frequent  sight  of  new  works, 
people  fall  into  that  mortal  dulness  which  is  one  of  the  well- 
known  marks  of  provincialism.  It  is  admitted  amongst 
artists  that  no  painter  can  absent  himself  very  long  from 
capital  cities  without  declining  in  power  ; and  even  landscape 
painters,  whose  material  lies  in  Alpine  valleys  or  Highland 
glens,  pass  regularly  some  considerable  portion  of  the  year 
in  the  ugliest  capital  in  Europe. 

The  best  life  is  that  which  includes  both  town  and 
country,  and  does  not  in  either  allow  itself  to  be  invaded 
and  overwhelmed  by  quantity,  either  of  art  or  nature.  The 
powers  of  one  man  in  the  presence  of  the  immense  accu- 
mulations of  the  race  must  always  be  infinitely  little,  and 
an  individual  human  being  can  no  more  study  all  the  art  in 
the  world  than  he  can  eat  all  the  food  in  the  world.  Etching 
is  a pleasanter  study  in  this  respect  of  quantity  than  painting 
is,  for  the  number  of  etchers  is  limited  ; and  since  the  art  has 
never  received  great  encouragement,  few  artists  have  left 
great  quantities  of  etchings  behind  them.  The  danger  to  the 
sensitiveness  of  etchers  is  not  so  much  from  seeing  too  many 
etchings  as  too  many  pictures. 

In  beautiful  scenery  the  faculties  may  be  dulled  by  too 
much  nature,  as  well  as  too  much  art.  Amongst  great 
mountains  we  are  especially  exposed  to  a spirit  of  reverie, 
which  makes  us  gaze  for  ever  and  do  nothing.  What  we 
can  do  seems  so  little,  what  they  are  so  much,  that  we  are 
likely  to  fall  into  contemplative  indolence,  unless  roused  by 
the  ardour  of  scientific  research,  or  the  necessity  for  money- 
getting. Neither  of  these  motives  leads  to  the  study  of 
etching,  and  there  is  always  some  probability  that  an  etcher 
who  should  persistently  absent  himself  from  fine  collections, 
and  live  in  the  midst  of  a too  magnificent  nature,  would 
injure  his  artistic  sensitiveness,  by  too  much  stimulus  of  the 
one  kind  and  too  little  of  the  other. 


CHAPTER  XI. 


EMPHASIS. 

TN  all  human  communication,  when  there  is  energy  enougn 
A to  move  men,  there  as  emphasis— in  oratory,  in  literature, 
in  acting,  in  painting,  in  common  daily  talk,  in  music,  even  in 
the  pantomime  of  gesture. 

. All  emphasis  in  design  is,  and  must  be,  a departure  from 
the  rigid  truth.  Emphasis  with  pencil  or  etching  needle  is 
the  exaggeration  of  some  point  which  has  powerfully  struck 
the  artist,  or  to  which  he  intends  to  direct  the  attention  of 
the  spectator.  And  such  exaggerations  are  departures  from 
the  truth  in  more  ways  than  one ; they  obscure  other  facts, 
and  destroy  the  equilibrium  of  nature.  Yet  a design  without 
emphasis  would  be  uninteresting,  except  as  a curiosity;  it 
would  certainly  have  no  interest  as  art.  Any  human  com- 
munication in  which  the  strict  order  and  proportion  of  nature 
should  be  followed  would  fail  of  its  effect  upon  mankind. 
The  principle  is,  that  you  are  not  to  tell  mankind  all  that  has 
occurred,  but  what  it  concerns  them  to  know.  Now  in  every 
event  of  history,  and  in  every  natural  scene,  there  are 
millions  of  minute  facts  which  nobody  cares  about  or  needs 
to  care  about — facts  which,  if  narrated,  would  only  overcharge 
the  hearer’s  memory  uselessly,  and  hinder  him  from  giving 
due  attention  to  the  great  points.  Your  time  and  his  being 
limited,  you  tell  him  what  seems  to  you  of  most  importance  ; 
and  to  impress  this  on  his  mind  you  drive  it  home  with  a 
hearty  thrust  of  emphasis,  like  a man  charging  a gun.  Artists 
do  exactly  the  same  thing,  and  etchers  especially,  for  a par- 


EMPHASIS. 


57 


ticular  reason.  The  more  elaborate  a work  is,  the  less,  as  a 
general  rule,  is  emphasis  resorted  to  because  when  there  is 
time  to  make  a full  exposition  of  a matter,  there  is  the  less 
need  for  violence  in  statement.  If  you  have  to  reply  to  an 
adversary  in  one  sentence,  you  make  it  a biting  epigram ; if 
you  have  an  hour  before  you,  it  tells  better  to  demolish  him 
with  studied  moderation.  Now  the  etchers,  in  comparison  to 
the  painters,  are  not  accustomed  to  lengthy  utterances.  To 
be  brief  and  go  to  the  point  at  once  is  a quality  which  they 
aim  at.  This  brevity  naturally  leads  to  an  emphatic  manner 
of  work,  and  it  may  be  observed  that  the  same  etcher  who 
strongly  emphasizes  in  a rapid  sketch  on  the  copper  is  far 
more  sober  in  statement  when  he  works  on  a laboured  plate. 

But  there  is  a kind  of  emphasis,  necessary  to  all  etching, 
even  the  most  laboured,  and  which  readily  escapes  attention. 
It  is  the  delicate  accentuation  that  lives  in  every  stroke,  like 
the  caressing  bow-pressures  of  an  accomplished  violinist. 
You  think  there  is  no  emphasis  at  all,  that  the  etcher  has 
been  telling  you  plain  facts  in  a plain  way,  and  yet  you  have 
been  interested  and  pleased.  If  you  have  been  interested, 
it  is  quite  certain  that  there  must  have  been  emphasis ; the 
simple  truth  would  have  left  you  cold.  And  yet  you  are  in- 
terested in  nature,  and  there  is  no  emphasis  there.  Very  true, 
but  there  was  emphasis  in  the  way  you  looked  at  nature  ; 
your  emotion  supplied  then  what  the  emotion  of  the  artist 
must  supply  for  you  in  art. 

And  might  not  a spectator’s  emotion  in  the  presence  of  a 
literally  true  etching  supply  a kind  of  emphasis  also,  as  it 
would  before  nature  ? 

It  might  perhaps,  but  it  never  does.  No  strictly  accurate 
drawing  that  I have  ever  seen  has  had  the  power  to  move  a 
single  spectator.  Accurate  work — that  is,  work  without 
emphasis — is  always  passed  by  with  indifference.  It  does 
not  tell  men  what  to  look  for,  or  why  they  are  to  look  at  all, 
and  so  they  do  not  feel  under  any  obligation  to  look.  An 


58 


EMPHASIS. 


artist  is  a person  who  undertakes,  or  ought  to  undertake,  to 
establish  a human  communication  between  nature  and  man- 
kind ; and  all  good  human  communication  is  preceded  by 
selection  and  enforced  by  emphasis. 

Yet  we  must  not  be  too  emphatic.  With  cultivated 
people  the  most  effectual  emphasis  is  very  subtle  and  deli- 
cate, avoiding  violence,  and  seeming  rather  to  arise  from  the 
courteous  wish  to  spare  trouble  to  the  audience,  than  from 
any  eagerness  to  compel  attention.  If  an  artist  will  listen 
to  the  best  conversation  that  is  to  be  had,  and  also  to  the 
best  music,  he  may  safely  carry  so  much  emphasis  as  he  will 
have  heard  there  into  his  own  practice.  There  is  a difference 
between  such  just  and  necessary  stress  as  this  and  the  vio- 
lence of  bad  manners  and  bad  art 


CHAPTER  XII. 


passion: 

mechanical  labours  of  the  line  engraver,  extending 
sometimes  over  several  years  on  a single  plate,  require 
industry  and  steadiness  rather  than  passion.  No  passionate 
temperament  could  easily  bring  itself  to  make  careful  lines 
with  a burin  when  the  only  result  of  a thousand  days  spent 
in  such  work  should  be  a translation  of  another  man’s 
thought.  Great  skill  is  needed,  and  infinite  patience  and 
care,  but  no  tormenting  and  disturbing  emotion.  Hence  the 
best  line  engravers  seem  to  be  either  men  of  cold  tempera- 
ment originally,  or  men  who  have  learned  the  necessity  for 
coolness  in  their  art,  reserving  the  fire  that  is  in  them  for 
other  studies,  or  for  their  amusements. 

But  with  the  etcher  these  conditions  of  success  are  re- 
versed, at  least  in  the  order  of  their  importance.  He  needs, 
no  doubt,  some  manual  skill,  some  patience,  and  a moderate 
amount  of  care,  but  these  avail  him  nothing  if  they  are 
accompanied  by  the  engraver’s  coldness.  The  one  capacity 
which  makes  all  his  other  powers  available  is  the  capacity 
for  passionate  emotion.  To  feel  vividly,  to  be  possessed 
for  a few  hours  by  some  overmastering  thought,  and  record 
the  thought  before  the  fire  has  time  to  die  out  of  it — this  is 
the  first  condition  of  success  in  etching. 

Therefore  all  schools  of  art  which  try  to  suppress  passion 
are  injurious  to  etching,  and  nobody  can  be  an  etcher  who 
either  belongs  to  them  or  believes  their  doctrines.  The 
classical  school  in  figure-painting,  and  the  topographic  school 


6o 


PASSION. 


in  landscape,  have  never  produced  a good  etcher.  Of  course 
neither  of  these  schools  set  itself  to  the  suppression  of  all 
passion,  for  the  classical  designers  have  illustrated  scenes  of 
very  strong  passion  indeed,  and  even  the  topographic  land- 
scape painters  have,  or  had  at  the  beginning,  a passionate 
devotion  to  topographic  truth  ; but  they  have  both  encou- 
raged a cold  indifference  to  much  that  no  etcher  can  afford 
to  regard  coldly.  The  classical  figure-painters,  in  the  pur- 
suit of  a learned  ideal,  taught  themselves  to  despise  the 
aspects  of  the  common  world,  and  to  this  day  have  a lofty 
contempt  for  every  artist  who  is  humble  enough  and  intel- 
ligent enough  to  take  an  interest  in  it.  The  topographers, 
on  the  other  hand,  though  they  make  an  exception  in  favour 
of  Turner,  whose  genius  they  recognise,  regard  the  deviations 
from  literal  truth  which,  in  the  works  of  less  famous  painters, 
are  due  to  genuine  passion,  as  a want  of  conscientiousness 
and  a blamable  laxity  of  principle. 

The  student  who  desires  to  etch  is  earnestly  recommended 
to  keep  clear  of  all  doctrine  which  endeavours  to  chill  his 
feeling  in  any  way.  To  etch  well,  an  artist  hardly  can  be 
too  passionate  in  his  likings.  Etch  what  impresses  you,  and 
as  it  impresses  you,  and  let  no  theorists  poison  your  mind 
with  the  virus  of  a morbid  conscientiousness. 


CHAPTER  XIII. 


FRANKNESS. 

j^TCHING  is  eminently  a straightforward  art,  which  is  one 
great  reason  for  its  unpopularity.  People  do  not  like 
plain  lines  that  tell  rude  truths  ; they  prefer  fancy  arrange- 
ments. No  good  etcher  will  condescend  to  fancy  arrange- 
ments. 

The  delightfulness  of  etching,  to  us  who  care  for  it,  is 
especially  this  frankness.  No  art  is  so  entirely  honest ; 
painting  and  engraving  have  almost  always  some  question- 
able ingredient  of  attractiveness,  some  prettiness  or  polish  to 
suit  widespread  but  lamentable  tastes.  The  etchers,  with 
few  exceptions,  have  not  attempted  to  make  themselves 
agreeable  in  this  way,  probably  from  a conviction  that  their 
art  is  so  inherently  unpopular  that  it  would  be  of  no  use. 
The  consequence  is,  that  of  all  artists  they  are  the  most 
simple  and  direct.  They  are  as  cunning,  and  crafty,  and 
subtle  as  you  will  in  the  artifices  of  method,  but  it  is  an 
honest  cunning  that  aims  only  at  qualities  really  worth  hav- 
ing ; and  if  these  can  be  reached  in  a simple  way,  the 
simple  way  is  always  preferred.  In  saying  that  etching  is 
an  especially  honest  art,  I mean  that  it  does  not  resort  to 
apparently  difficult  ways  of  doing  easy  things,  in  order  to 
get  credit  for  difficulties  overcome.  On  the  contrary,  it  is 
remarkable  for  preferring  apparently  simple  ways  of  doing 
difficult  things.  So  unpretending  is  it,  that  the  master- 
pieces of  the  art  attract  no  attention  from  the  general  public, 
and  people  who  cluster  in  a close  group  round  a showy 


6 2 


FRANKNESS. 


picture,  will  pass  without  a glance  the  most  exquisite  ex- 
pression of  an  aquafortist. 

Etched  lines  look  coarse  and  awkward  very  often,  the 
lines  of  shading  seem  irregular,  pains  are  not  taken  to  hide 
the  errors  of  the  artist ; sometimes  he  roughly  corrects,  and 
lets  you  see  that  he  has  corrected.  It  happens  even  that 
defects  in  the  varnish  have  been  allowed  to  remain  in  the 
bitten  copper,  and  print  themselves  on  every  proof  taken. 
Etchers  seem  to  be  an  idle,  careless  set  of  men,  who  do  not 
finish  properly.  They  are  not  sufficiently  polished,  not  in 
harmony  with  the  usages  of  society.  These  wayward, 
eccentric  strokes  of  theirs  show  a too  rampant  and  irrepres- 
sible individualism ; if  they  would  learn  to  shade  evenly  as 
the  engravers  do,  and  make  neat  curves  and  lozenges,  would 
it  not  be  much  better  ? Frankness  may  be  well  on  due 
occasion,  but  we  may  have  too  much  of  it 

This  is  the  way  many  people  feel  about  the  frankness  of 
etching,  if  they  do  not  say  so. 


CHAPTER  XIV. 


SPEED . 

JN  the  letterpress  which  accompanied  Mr.  Haden’s  etch- 
ings a letter  of  his  was  quoted,  in  which  he  spoke  of  the 
advantages  of  etching  an  entire  plate  at  one  sitting.  The 
unity  of  impression  so  obtained  was,  Mr.  Haden  thought,  an 
important  gain,  and  enough  to  counterbalance  much  elabora- 
tion. Looking  through  Mr.  Haden’s  own  etchings  by  the 
light  of  this  expression  of  opinion,  we  find  some  which  may 
have  been  finished  at  one  sitting,  and  others  which  must 
have  required  a longer  time.  It  will  be  found  in  practice 
that  a sketch  on  copper  may  be  effectively  done  in  a sitting, 
but  that  an  etching  in  which  the  full  resources  of  the  pro- 
cess are  brought  to  bear  will  occupy  several  sittings.  It  may 
be  also  observed  that  when  an  etching,  supposed  to  be  exe- 
cuted at  once,  is  afterwards  corrected  and  carried  through 
several  states,  the  sittings  required  for  these  corrections 
ought  to  be  taken  into  account,  and  that  it  is  not  accurate 
to  class  such  a plate  amongst  plates  etched  at  one  sitting. 
If  this  is  strictly  attended  to,  it  will  be  found  that  an  exceed- 
ingly small  proportion  of  etchings  have  really  been  exe- 
cuted in  the  way  Mr.  Haden  advocates. 

It  is  right,  however,  to  insist  on  a certain  value  in  mere 
rapidity.  A rapid  stroke,  when  not  so  rapid  as  to  miss  the 
necessary  modulations,  is  generally  better  than  a slow  one, 
and  a concise  expression  preferable  to  a diffuse  expres- 


64 


SPEED . 


sion.*  The  way  to  attain  true  speed  is  to  spend  a great  deal 
of  time  in  looking,  and  having  decided  upon  the  strokes  to  be 
laid,  lay  them  at  once,  and  leave  them.  It  is  told  of  John 
Phillip,  that  when  he  painted  he  showed  no  sign  of  hurry, 
but  would  look  hard  at  nature  and  then  lay  a few  firm 
touches,  not  to  be  disturbed,  and  that  in  this  careful  way  he 
was  really  getting  his  picture  forward  rapidly.  So  in  etching, 
there  should  be  no  unthinking  haste,  but  every  line  should 
be  determined  upon  before  it  is  made. 

A good  principle  to  remember  is,  that  for  an  etching  to 
look  fresh  we  must  avoid  weariness.  This  is  why  Mr.  Haden 
recommends  a single  sitting ; it  seems  to  him  that  the  fresh- 
ness of  the  mind,  its  first  virgin  impression  of  a subject,  may 
be  kept  three  or  four  hours,  but  not  very  much  longer. 
Before  the  mind  acknowledges  fatigue  it  loses  its  keen  interest 
in  the  subject  which  occupies  it,  and  this  keen  interest  is 
what  we  have  mainly  to  rely  upon  for  the  vivacity  of  our 
work.  A jaded  etcher  is  sure  to  spoil  his  plate.  Without 
making  a rule  to  etch  only  plates  of  one  sitting,  which  would 
confine  us  to  sketching,  it  is  quite  necessary  to  stop  before 
the  mind  wanders  or  goes  on  another  tack.  The  plate,  if 
not  yet  sufficiently  advanced  to  be  printed,  may  be  laid  aside 
and  completed  at  some  future  time,  when  the  freshness  of 

* Every  question  about  art  has  two  sides,  and  this  question  about  speed  is  not 
an  exception  to  the  rule.  There  are  qualities  which  come  of  speed  and  qualities 
which  come  of  deliberation.  However,  there  is  such  a thing  as  deliberate  speed, 
and  I should  never  advocate  any  other. 

Rembrandt  gives  examples  of  all  degrees  of  speed  and  all  degrees  of  deliberate 
slowness  too.  Sometimes  he  aims  at  the  qualities  that  rapidity  attains  when 
directed  by  knowledge  and  genius,  sometimes  at  the  qualities  that  infinite  patience 
may  attain  under  the  same  high  mental  guidance.  The  great  versatility  of  etching 
permits  the  most  opposite  treatment.  Your  work  may  be  as  swift  as  handwriting, 
or  it  may  be  as  slow  as  the  progress  of  an  engraver’s  burin  ; good  work  has  been 
done  in  both  ways.  I should  say,  never  work  quickly  from  bravado,  nor  slowly 
from  an  exaggerated  conscientiousness,  but  choose  the  rapid  or  slow  expression  as 
it  harmonises  with  your  tempei  and  accommodates  itself  to  your  thought. 


SPEED. 


65 


interest  in  it  may  return  to  us.  If  this  freshness  should  not 
return,  the  plate  is  better  abandoned.* 

* Landseer  attached  as  much  importance  to  speed  in  painting  as  some  etchers 
have  attached  to  it  in  their  own  art.  He  painted  quickly  on  principle,  and  settled 
everything  about  his  composition  before  going  to  work,  spending  marvellously  little 
time  in  the  actual  setting  forth  of  his  ideas  upon  canvas.  He  was  fully  alive  to 
the  fact  that  rapidity  is  a good  thing  in  itself,  provided  only  you  have  knowledge 
enough,  and  provided  that  the  knowledge  is  at  your  fingers*  ends.  After  one  of  his 
amazing  feats  of  speed  he  felt  a profound  satisfaction,  not  in  the  half-miraculous 
achievement,  but  in  having  got  his  thought  well  expressed  whilst  it  remained  fresh 
and  vivid  in  his  mind. 


F 


CHAPTER  XV. 


MOTIVES. 

^JpHE  motive  of  a picture  is  not  so  much  material  as 
spiritual.  It  is  a certain  condition  of  the  mind,  pro- 
duced by  the  subject,  and  which  the  artist,  in  rendering  that 
subject,  desires  to  reproduce  in  the  minds  of  spectators. 
This  is  the  reason  why  great  artists  so  often  choose  subjects 
which  seem  trifling,  and  also  why  Philistinism  always  mis- 
understands and  despises  art.  What  a great  landscape- 
painter  attempts  to  render  is  not  the  natural  landscape,  but 
the  state  of  feeling  which  the  landscape  produces  in  himself. 
Since  etching  is  especially  an  art  of  feeling , an  art  in  which 
feeling  is  supreme  and  mechanism  nowhere,  it  is  very  im- 
portant that  the  etcher  should  be  able  to  enter  into  the  true 
conception  of  artistic  motives. 

A motive  should  never  be  valued  according  to  the 
popular  estimate  of  its  importance,  nor  even  by  the  effect 
it  may  produce  on  some  other  artist.  If  you  listen  to  the 
people,  you  may  be  prevented  from  studying  in  some  region 
quite  full  of  good  motives ; it  seems  barren  and  uninterest- 
ing to  them,  and  they  will  make  you  believe  that  it  is  barren. 
So  even  an  accomplished  artist  may  mislead  you  by  his 
report  of  a place  ; he  may  find  nothing  there  suitable  to  his 
own  idiosyncrasy,  and  yet  for  you  it  may  be  full  of  treasure. 
The  converse  of  this  is  also  true,  though  not  quite  to  the 
same  extent.  A district  may  be  popular,  it  may  even  be 
very  attractive  to  some  good  painters,  and  yet  you  may  not 
find  there  what  you  want.  This,  however,  is  likely  to  occur 


MOTIVES. 


67 


more  rarely,  because  if  a district  is  popular  there  is  sure  to 
be  either  sublimity  or  beauty  in  it ; and  although  it  may 
not  be  the  particular  sublimity  or  beauty  which  most  closely 
touches  you,  it  is  always  probable  that  some  phase  of  these 
will  awaken  your  interest. 

Every  artist  has  theories  about  the  choice  of  subjects 
which  are  merely  personal  and  do  not  concern  others,  yet 
he  believes  them  to  be  universally  applicable.  We  have  to 
guard  ourselves  against  the  strong  personal  feeling  of  our 
artist-friends,  especially  when  it  expresses  itself  in  negation 
and  discouragement.  They  are  always  ready  to  say  that 
subjects  are  unfit  for  pictorial  treatment  when  they  are  not 
in  harmony  with  their  own  personal  constitution.  Almost 
anything  is  a subject,  but  it  only  becomes  a motive  when 
an  artist  is  moved  by  it.  An  etcher  ought  never  to  care 
about  subjects,  but  should  etch  motives  only. 

To  do  this  requires  great  faith,  great  confidence  in  our 
feelings  and  impressions.  This  faith  is  assailed  on  every 
side  by  the  scepticism  of  people  who  do  not  see  as  the 
artist  sees  ; but  he  should  not  let  these  attacks  disturb  him. 
Other  people  do  not  see  what  he  sees,  because  they  are  not 
himself ; but  if  he  is  quite  faithful  to  his  own  impressions, 
he  will  gain  sympathy  in  the  long  run,  not  from  everybody, 
but  from  those  who  are  near  enough  to  him  to  enter  into 
his  ideas. 

One  of  the  great  advantages  which  results  from  perfect 
fidelity  to  motive  is  the  unity  of  each  piece  of  work  when 
it  leaves  the  etcher’s  hand.  Under  the  impulse  of  a feeling 
he  has  produced  a work,  and  the  feeling  will  have  fused  the 
material  into  a whole.  What  we  most  need  for  unity  is  an 
unreserved  surrender  to  our  impression,  a simple  faith  that 
what  has  moved  us  is  worth  recording,  however  poor  and 
uninteresting  it  may  seem. 

And  as  submission  to  every  real  motive  is  a duty,  so  are 
resistance  to  and  rebellion  against  false  motives  and  half- 


63 


MOTIVES. 


motives  which  are  only  subjects.  There  are  endless  beauties 
and  sublimities  which  do  not  make  our  innermost  chords 
vibrate;  we  just  admire  them,  and  that  is  all.  The  condition 
of  mind  which  tries  to  etch  a subject  from  a cool  acknowledg- 
ment that  it  is  good  material,  is  as  widely  remote  from  the 
condition  of  a noble  etcher  as  flirtation  from  passionate 
love. 

This  faith  in  our  own  personality  is  not  vanity,  it  is  not 
a blamable  excess  of  self-confidence,  but  merely  a right 
understanding  of  the  necessities  of  art.  It  may  even  arise 
from  a kind  of  modesty  which  will  not  attempt  things  out 
ofiits  own  province.  There  is  a close  connection  between 
true  modesty  and  self-respect,  and  etchers  ought  to  cultivate 
both.  They  should  have  modesty  enough  to  hinder  them 
from  attempting  things  merely  from  ambition,  because  other 
men  have  done  them  and  become  famous ; and  they  should 
have  self-respect  enough  to  have  a full  though  quiet  con- 
viction of  the  value  of  their  own  feelings  and  impressions. 
In  this  state  of  mind  an  artist  finds  something  more  and 
better  than  mere  subjects,  and  nature  abounds  for  him  in 
motives. 


ETCHING  AND  ETCHERS. 


BOOK  II. 


THE  DUTCH  AND  OTHER  SCHOOLS. 


CHAPTER  I. 


ALBERT  DURER. 


J~^URER  was  so  magnificent  a master  in  the  powers  and 
qualities  he  cared  for  and  aimed  at,  that  it  is  the  more 
necessary  to  remember  the  limitations  of  his  art.  His  draw- 
ing is,  in  its  way,  superb  ; his  management  of  the  burin 
above  criticism  ; his  chiaroscuro  quite  arbitrary  and  false  ; 
his  knowledge  of  local  colour  apparently  slight,  and  never 
certainly  to  be  depended  upon  ; his  aerial  perspective  null. 

We  know  Durer  by  his  engravings  mainly ; but  he  could 
etch,  and  was  a true  etcher,  though  he  practised  the  art  little. 
Two  of  his  etchings  are  described  below. 

The  mechanical  perfection  of  his  handicraft  as  a line- 
engraver  does  not  concern  us  here,  and  must  be  passed  with 
this  simple  mention,  though  it  is  a tempting  subject.  But 
Durer’s  mind  concerns  us ; and,  admirable  as  was  the  perfec- 
tion of  his  manual  work,  he  does  not  owe  his  greatness  to 
that,  but  to  mental  originality  and  force. 

He  was  one  of  the  most  grave  artists  who  ever  lived. 
His  gravity  went  so  far  that  he  could  do  things  which,  in  a 
jesting  age  like  ours,  would  have  been  criticised  and  carica- 
tured without  mercy.  For  instance,  imagine  what  would  be 
said  if  an  English  academician  painted  “ Samson  killing  the 
Lion  ” as  Durer  designed  that  subject,  or  even  such  composi- 
tions as  his  “ Knight  and  Lady/’  or  the  “ Satyr  and  Lady 
behind  the  Shield  with  the  Death’s  Head,”  or  the  woodcut 
of  the  “ Visitation.”  These,  in  their  way,  are  all  truly  great 
art,  but  great  art  of  a kind  which  would  not  be  possible  in 
this  century,  on  account  of  our  highly  developed  sense  of  the 
ridiculous,  and  our  levity. 


7* 


ALBERT  DURER. 


There  is  a quality  in  all  Durers  work  which  gives  it 
inexhaustible  interest  ; it  always  makes  us  feel  that  we  have 
not  yet  got  to  the  bottom  of  it,  that  there  are  meanings  in  it 
deeper  than  any  we  have  yet  read,  and  that  closer  and  more 
intelligent  study  will  be  rewarded  by  farther  knowledge  and 
fuller  enjoyment.  His  intense  seriousness,  his  powerful  and 
somewhat  morbid  imagination,  gave  him  a tendency  to  philo- 
sophical and  poetical  suggestion  somewhat  beyond  the  range 
of  graphic  art.  It  is  easy  to  propose  solutions  of  Durers 
enigmas,  but  what  he  really  intended,  in  some  of  his  most 
elaborate  plates,  will  perhaps  remain  for  ever  a mystery. 
Who  knows  what  was,  in  Durers  mind  when  he  engraved 
the  “ Great  Horse”  ? Certainly  his  purpose  was  not  simply 
the  designing  of  a muscular  quadruped. 

It  would  not  be  difficult  for  a writer  who,  for  many  years/ 
has  loved  and  studied  the  noble  work  of  Durer,  to  occupy 
several  pages  with  the  expression  of  his  long-accumulating 
thought ; but  any  elaborate  study  of  this  master  would  be 
out  of  place  here,  because  it  would  have  to  be  based  upon 
his  engravings,  and  not  upon  his  etchings.  Even  of  the 
etchings  themselves  it  would  be  an  affectation  to  say  very 
much  beyond  this,  that  they  are  right  in  workmanship,  and 
as  good  in  conception  as  the  artist’s  other  religious  pieces. 
It  was  not  in  the  conception  of  scenes  of  sacred  history  that 
Durer  far  surpassed  his  contemporaries. 

St.  Jerome. — The  saint  is  seated  in  a rocky  place,  with  a 
book  before  him  on  a rude  table  made  with  a board  placed 
upon  stones  ; there  is  a lion  at  his  feet  and  a little  water. 
(Dated  1512.) 

The  Virgin  and  Child  - — The  Virgin  is  seated  on  the 
edge  of  a rude  trough  filled  with  hay  or  straw.  To  her  left 
is  an  old  man  with  a long  beard,  and  behind  her  are  three 
figures — a woman  and  two  men.  The  reader  will  find  a 
very  rich  impression  of  this  etching  in  the  British  Museum 
the  upper  proof  on  page  1 8 of  the  Durer  volume  there. 


CHAPTER  II. 


REMBRANDT. 

J7  VERY  art  has  its  great  representative  master,  and  the 
representative  etcher  is  Rembrandt.  He  was  so  consti- 
tuted, and  he  so  trained  himself,  as  to  become,  in  his  maturity, 
the  most  consummate  aquafortist  who  has  hitherto  appeared. 
There  is,  however,  a difficulty  in  writing  about  him  which 
does  not  present  itself  in  the  case  of  less  celebrated  artists ; 
he  has  been  made  the  subject  of  such  unlimited  eulogy,  that 
the  sincere  expression  of  critical  appreciation  must  seem 
faint  and  pale  after  the  ardours  of  genuine  or  affected  fanati- 
cism. Rembrandt  is  what  the  French  call  a god  of  art.  The 
phrase  sounds  a little  blasphemous  to  English  ears ; but, 
whether  blasphemous  or  not,  it  describes  with  perfect  accuracy 
the  relation  of  certain  famous  artists  towards  their  admirers. 
Rembrandt  and  one  or  two  others  are  in  a very  strict  sense 
the  gods  of  connoisseurs,  and  the  kind  of  homage  they  receive 
is  not  critical,  but  has  the  nature  of  worship  or  adoration. 
After  that  the  critic  has  a discouraging  task  before  him,  for 
however  loud  his  praise,  it  is  inaudible  in  the  unceasing 
chorus  of  traditional  hymn-singing ; and  however  mild  the 
expression  of  a doubt,  it  is  likely  to  be  resented  as  a species 
of  atheism.  False  enthusiasm  of  all  kinds  is  often  consider- 
ably noisier  than  true  enthusiasm  ; and  it  is  not  easy  for  a 
critic,  whose  admiration  is  only  based  on  careful  study  of  the 
works  of  an  artist,  to  emulate  the  ardour  of  those  who  have 
never  studied  him  at  all.*  Considering,  therefore,  that  no- 

* The  enthusiasm  about  the  classical  writers  (not  merely  Latin  and  Greek,  but 


74 


REMBRANDT. 


thing  in  the  way  of  phrase-making  can  be  expected  to  equal 
what  has  been  accomplished  already  in  honour  of  the  name 
of  Rembrandt,  the  present  writer  abandons  the  rhetoric  of 
eulogy  to  more  adventurous  and  enterprising  authors,  and 
confines  himself  to  a simple  analysis  of  Rembrandt’s  qualities 
and  powers. 

Technical  skill  is  not  the  highest  gift  of  an  artist,  but  it 
is  his  most  necessary  accomplishment,  for  without  it  he  can- 
not worthily  realise  his  conceptions,  however  elevated.  This 
is  a truism,  and  has  been  said  before  in  various  ways,  but  it 
may  be  well  to  say  it  in  this  place  once  again,  because  Rem- 
brandt holds  his  supreme  rank  primarily  on  technical  grounds- 
Let  us,  for  the  present,  set  aside  the  question  of  his  intellec- 
tual power,  and  reserve  considerations  of  taste,  inquiring 
simply  whether  he  could  really  etch,  or  whether  his  work, 
like  that  of  many  other  clever  painters  who  have  etched,  is 
foreign  to  the  true  genius  of  the  art. 

A great  French  painter  gave  this  counsel  to  his  pupils  : 
“ fibauchez  toujours .”  Our  English  art  language  is  so  limited 
that  we  cannot  translate  the  word  ebaucher , which  means  the 
preparatory  brushing-in  of  a picture ; but  what  the  painter 
intended  to  recommend  was  the  practice  of  carrying  forward 
the  picture,  always  on  the  same  principle  of  comprehensive 
sketching,  until  at  last  it  reached  a sufficient  completion, 
being  brought  to  it  insensibly,  as  it  were,  and  without  any 
fixed  intention  of  finish  ; the  finish  coming  of  itself  after 
much  sketching  upon  and  within  sketching.  The  advice  was 
excellent,  even  as  addressed  to  painters ; but  etchers  need  a 
like  belief  even  more  urgently.  An  etching  should  always 
be  conceived  purely  as  a sketch,  and  what  people  call  a 
“ finished  ” etching  ought  to  be  nothing  more  than  a sketch 
carried  farther.  Rembrandt  was  always  technically  safe 

of  all  countries)  is  always  loudest  in  the  case  of  persons  who  read  them  little  or  not 
at  all,  on  the  same  principle,  it  may  be  supposed,  which  makes  religious  bigotry 
most  energetic  in  those  who  expend  little  energy  in  the  direction  of  moral  effort 


REMBRANDT. 


75 


because  he  never  lost  hold  of  the  idea  of  the  sketch,  and  his 
most  laboured  work  is  still  strictly  conceived  on  the  principles 
of  sketching. 

At  this  stage  in  our  study  of  the  great  master  it  may  be 
well  to  pause,  for  there  exists  a widely-spread  misapprehen- 
sion of  the  nature  of  a sketch.  Sketching  is  held  to  be  an 
easy  form  of  artistic  expression,  because  it  is  rapid  and 
apparently  slight  when  done,  but  the  knowledge  required 
for  a sketch  is  as  great  as  that  needed  for  a “ finished  ” 
drawing,  the  only  difference  being  that,  the  slighter  and 
swifter  the  expression,  the  greater  is  the  necessity  for 
comprehensiveness  and  selection.  It  is  only  the  most 
accomplished  artists  who,  in  any  true  sense,  can  be  said  to 
sketch  at  all,  because  it  is  only  when  the  facts  of  nature  are 
thoroughly  known  that  the  most  necessary  ones  can  be 
selected  from  the  mass.  One  of  the  common  illusions  of 
dilettantism  is  the  belief  that  the  talent  of  the  sketcher  i*s 
easily  accessible,  but  the  amateur  is  just  as  likely  to  rival 
the  finish  of  Van  Eyck  as  the  liberty  of  Rembrandt. 

Rembrandt  always  sketched,  and  his  most  finished  work 
is  sketching  carried  forwards. 

The  adherence  to  this  principle  is  philosophically  right 
and  defensible,  on  the  ground  that,  whenever  we  see  com- 
prehensively, we  see  nature  itself  as  a more  or  less  advanced 
sketch,  never  in  perfect  completion.  When  we  lose  artistic 
comprehensiveness  and  become  analytic, — as,  for  instance, 
when  we  examine  the  buckling  of  harness  before  starting 
for  a drive, — we  do  not  see  the  object  as  a sketcher  would, 
but  at  such  times  we  do  not  see  at  all  in  the  artistic  sense ; 
we  are,  for  the  time  being,  blind. 

The  next  notable  fact  about  Rembrandt  is,  that  he  saw 
and  etched  with  the  most  various  degrees  of  abstraction,  so 
that  his  sketching  passes  from  the  very  slightest  and  rudest 
croquis  to  what  is  popularly  accepted  as  finished  work.  All 
these  degrees  of  abstraction  he  had  constantly  at  command, 


76 


REMBRANDT. 


and  used  them  sometimes  in  the  same  plate,  passing  with 
subtle  gradation  from  one  to  the  other,  as  it  suited  him,  and 
so  leading  us  to  dwell  upon  what  he  considered  best  worth 
our  study. 

So  that,  if  we  take  the  whole  series  of  the  plates  of 
Rembrandt,  we  shall  find  separate  illustrations  of  sketching 
in  all  degrees  of  abstraction  ; and  also,  if  we  take  certain 
particular  plates,  we  shall  find  in  each  of  them  a concentra- 
tion of  these  various  interpretations  of  nature  ; but,  however 
near  the  apparent  approach  to  “ finish,”  the  most  elaborate 
work  is  still  pure  sketching. 

Another  point  which  distinguishes  Rembrandt  from  many 
inferior  aquafortists,  is  his  manly  use,  on  due  occasion,  of 
the  frank  etched  line.  He  knew  the  beauty  and  the  value 
of  it,  and  was  so  far  from  trying  to  dissimulate  it  in  deference 
to  popular  taste,  that  he  laid  it  boldly  and  bare  wherever  he 
saw  the  need  of  it,  even  in  his  most  careful  and  elaborate 
performances.  There  is  only  one  Englishman,  Haden,  who 
has  used  the  line  in  this  direct,  effectual  way,  and  Rem- 
brandt taught  him.  Turner  could  use  it,  also,  but  he  looked 
always  to  mezzotint  to  help  him  out.  Of  modern  French- 
men, Lalanne,  Appian,  Chiffiart,  Jongkind,  and  Daubigny 
employ  the  free  line  with  various  degrees  of  success,  but  no 
one  has  ever  yet  used  it  like  Rembrandt ; and  in  this  respect 
even  the  greatest  of  the  old  masters  are  feeble  in  comparison 
with  him — all,  except  Vandyke. 

He  was  very  various  in  method,  so  that  some  amateurs,  in 
ignorance  of  the  usual  processes  of  the  art,  have  attributed 
to  him  secrets  peculiar  to  himself.  There  is  no  evidence, 
however,  that  Rembrandt  did  more  than  employ  the  pro- 
cesses known  to  all  etchers,  and  the  peculiarity  of  his  work 
was  not  a peculiarity  of  method,  but  a surpassing  excellence 
of  skill.  So  little  is  generally  known  about  etching,  that 
men  who  have  a reputation  for  connoisseurship  are  sometimes 
unacquainted  with  the  details  of  practice,  so  that  the  little 


REMBRANDT. 


77 


artifices  of  method,  which  any  one  may  learn  who  will  take 
the  trouble,  appear  to  them  mysterious  and  inexplicable. 
It  may  be  well  to  guard  the  reader  against  a mistake  to 
which  he  may  be  exposed  in  reading  French  criticisms  of 
Rembrandt,  in  which  some  impressions  of  his  plates  are  said 
to  be  in  the  manikre  noire , a phrase  commonly  employed  for 
mezzotint.  Rembrandt  never  engraved  in  mezzotint,  but  he 
sometimes,  in  printing  a plate,  left  ink  on  its  surface  so  as  to 
give  a certain  richness  which  bears  some  resemblance  to 
mezzotint ; and  the  manihre  noire  of  the  French  writers 
refers,  in  the  case  of  Rembrandt,  simply  to  this  way  of 
printing. 

It  is  not  always  easy  to  say  positively  of  small  portions 
of  Rembrandt’s  work,  whether  it  was  done  with  the  etching- 
needle  or  the  dry-point  ; and  this  proves  an  extraordinary 
mastery  of  the  latter  instrument,  which  in  less  skilful  hands 
cannot  approach  the  freedom  of  the  needle.  In  these  cases 
the  way  to  ascertain  the  fact  is  by  reference  to  the  earliest 
proofs,  before  Rembrandt  had  removed  his  bur. 

The  criticism  most  interesting  to  general  readers  is  that 
which  refers  to  mental  rather  than  technical  characteristics, 
and  it  would  be  wrrong  not  to  attempt  some  estimate  of 
Rembrandt  as  a mind  studying  nature  and  humanity.  He 
was  a robust  genius,  with  keen  powers  of  observation,  but 
little  delicacy  or  tenderness  of  sentiment,  and  he  lacked  the 
feminine  element  which  is  said  to  be  necessary  to  poets.  He 
understood  certain  classes  of  men  quite  thoroughly,  and 
drew  them  with  the  utmost  perspicacity — men  with  whom 
his  robust  nature  had  sympathy.  He  had  an  extraordinary 
apprehension  of  natural  dignity  and  majesty,  proving  thereby 
the  true  grandeur  of  his  own  mind,  for  it  is  only  minds  of  a 
very  high  order  that  see  the  grandeur  of  men  who  enjoy 
little  worldly  rank  and  consideration.  Rembrandt  had  little 
sensitiveness,  it  seems,  as  regards  the  delicate  beauty  of 
young  women,  but  he  understood — and  this  is  rarer — the 


78 


REMBRANDT. 


venerableness  of  some  old  ones.  He  drew  a great  many 
Biblical  subjects,  and  a few  very  immoral  ones  ; whether  he 
was  religious  or  not  is  uncertain  ; it  is  possible  that  he  may 
have  availed  himself  of  the  Bible  as  a convenient  repertory 
of  material,  full  of  fine  artistic  suggestion,  and  having  the 
advantage  of  being  universally  known.  On  the  other  hand, 
though  there  is  undeniable  licentiousness  in  some  of  his 
etchings,  his  mind  does  not  seem  to  have  dwelt  much  upon 
subjects  of  that  kind,  and  he  took  them  probably  merely 
because  they  came  in  his  way,  as  incidents  of  human  life — a 
state  of  feeling  which  the  scrupulous  reticence  of  our  age 
may  easily  misinterpret.  He  cared  very  little  for  beauty 
and  grace,  despised  prettiness,  calmly  tolerated  all  manner 
of  hideousness,  and  admired  nothing  so  much  as  a certain 
stern  and  manly  grandeur,  resulting  from  the  combination 
of  habits  of  reflection  and  much  experience  of  the  world. 

The  doctrine  that  great  artists  are  the  product  of  the 
circumstances  that  surround  them,  has  been  so  much  insisted 
upon  of  late,  that  the  reader  will  easily  see  the  applicability 
of  it  to  Rembrandt  as  an  etcher.  The  visible  marks  of 
character  in  the  men  he  knew  were  so  strongly  traced,  and 
their  whole  aspect  so  available  for  his  purpose,  that  he  had 
the  advantage  of  continual  study,  even  in  the  common  inter- 
course of  life.  A Londoner  in  the  nineteenth  century  misses 
this,  unless  he  is  a caricaturist,  for  the  activity  of  modern 
existence  is  destructive  of  the  kind  of  dignity  which  Rem- 
brandt loved,  and  our  costume  is  not  compatible  with  any 
true  grandeur  of  demeanour.  A still  worse  evil  than  our 
fidgetty  activity  and  mean  costume,  is  the  want  of  clear 
individuality  in  our  faces  : we  are  trained  in  the  repression 
of  all  visible  feeling  beyond  a small  range  of  polite  and 
exceedingly  mild  emotions,  so  that  our  joy  never  gets  beyond 
a smile  of  quiet  satisfaction,  nor  may  our  sorrows  command 
more  than  a gentle  expression  of  regret.  But  Rembrandt 
lived  in  a time  when  people  bore  upon  their  faces  a frank 


REMBRANDT. 


79 


record,  not  only  of  recent  feeling,  but  of  all  the  intensity  of 
the  feelings  which  had  moved  the  muscles  and  moulded  the 
physiognomy  during  the  whole  course  of  their  lives,  and  he 
took  the  greatest  delight  in  studying  living  records  of  this 
kind.  The  human  interest  of  his  work  is,  therefore,  exceed- 
ingly  great ; and  his  portraits,  especially,  become  for  us 
living  acquaintances.  The  same  intensity  of  individual 
character  is  carried  through  his  ideal  subjects,  and  his  imagi- 
nation does  not  rest  satisfied  with  anything  less  than  personal 
knowledge  of  every  individual  man  and  woman  in  his  etchings, 
even  though  of  minor  consequence  in  the  action. 

The  reader  who  has  not  yet  studied  Rembrandt  system- 
atically, but  wishes  to  do  so,  may  conveniently  prepare  himself 
for  the  etchings  themselves,  by  making  himself  familiar  with 
the  photographs  from  them,  and  with  the  Catalogue  of 
Charles  Blanc,  which  is  illustrated  by  forty  plates  of  Flameng, 
the  most  spirited  copies  of  etchings  ever  executed  in  such  a 
considerable  quantity,  and  with  sustained  excellence. 

Since  Rembrandt  was  a productive  etcher,  it  is  wise  to 
divide  his  work  into  classes,  according  to  subject,  and  this 
has  been  done  for  us  already  by  M.  Charles  Blanc.  From 
these  classes  the  student  may  select  representative  examples. 
Those  described  below  are  sufficient  to  give  a very  clear  idea 
of  the  genius  of  Rembrandt  in  its  full  variety  of  expression. 

As  the  reader  has  just  been  recommended  to  avail  himself 
of  the  assistance  of  photographs  and  copies,  it  may  be  well 
to  say  a few  words  as  to  their  especial  utility. 

A photograph  never  fairly  represents  an  etching,  and  is 
never,  in  any  sense,  a substitute  for  the  original  plate ; but 
the  forms  are  retained,  though  the  brilliant  quality  of  the 
work  is  in  a great  measure  lost ; and  a set  of  photographs 
serve  to  remind  us  of  the  plates  themselves,  or  to  prepare  us 
for  the  study  of  the  originals,  by  making  us  at  least  familiar 
with  their  subjects  and  composition.  The  value  of  photo- 
graphy has  been  forced  upon  the  writer’s  attention  with 


8o 


REMBRANDT. 


especial  effect,  because  it  was  at  one  time  proposed  to  illus- 
trate this  volume  by  means  of  photographs  from  the  great 
etchers, but  the  quality  of  photographic  reproductions  generally 
was  found  so  unreliable  as  to  technical  merits,  that  the  plan 
was  finally  abandoned.*  When  the  photograph  from  an 
etching  is  placed  side  by  side  with  the  original,  it  is  found 
wanting  in  clearness  and  purity  of  line  ; the  lines  occasionally 
fail  where  most  delicate,  and  passages  of  close  but  still  open 
shading  are  represented  by  something  like  a washed  or  blotted 
tint.  On  the  other  hand,  no  etched  copy  is  to  be  absolutely 
relied  upon,  though  some  very  wonderful  imitations  exist — 
imitations  whose  Chinese  fidelity  deceives  all  but  the  most 
accomplished  connoisseurs.  Notwithstanding  these  defects 
photographs  and  etched  copies  may,  however,  be  accepted 
for  what  they  are  worth,  and  used,  not  as  substitutes  for  the 
originals,  which  should  be  studied  in  preference  whenever  the 
opportunity  occurs,  but  as  reminders  and  records.  Flameng’s 
copies  are  marvellous  for  their  spirit  and  truth,  and  may  be 
recommended  as  interpretations  of  the  mind  of  Rembrandtt 
It  is  not  necessary  to  repeat  here  what  is  known  of 
Rembrandt’s  life ; the  reader  will  find  details  in  M.  Blanc’s 
biography  which  will  interest  him,  but  our  knowledge  of 
Rembrandt’s  existence  is  not  very  complete.  It  is  certain 
that  he  was  passionately  fond  of  art,  and  an  eager  collector, 
being  willing  to  buy  art  as  well  as  to  sell  it.  He  had  a 
keen  knowledge  of  human  nature,  and  knew  how  to  catch 
connoisseurs  by  the  bait  of  rarity,  making  different  states 

* Etchings  are  now  reproduced  by  the  “Heliogravure  Amand-Durand,”  with 
a wonderful  yet  not  quite  absolutely  perfect  fidelity.  The  plate  in  his  process  is 
really  etched,  whilst  photography  ensures  its  accuracy  in  the  direction  of  the  lines. 

+ Here  is  the  title  of  M.  Blanc’s  Catalogue  of  Rembrandt’s  works  with 
Flameng’s  illustrations  : — 

“ L’CEuvre  complet  de  Rembrandt,  decrit  et  commente  par  M.  Charles  Blanc, 
ancien  Directeur  des  Beaux- Arts.  Catalogue  raisonne  de  toutes  les  Eaux-fortes 
du  Maitre  et  de  ses  Peintures,  ome  de  Bois  graves  et  de  quarante  Eaux-fortes 
tirees  a part  et  rapportees  dans  le  texte.  2 vols.  Paris  : L.  Guerin,  editeur. 
Depot  et  vente  k la  librairie  Theodore  Morgand,  5,  rue  Bonaparte  ’* 


REMBRANDT. 


81 


of  plates  on  purpose  to  gratify  them  in  this  respect.  It 
appears  to  be  positively  known  that  he  had  a printing-press 
in  his  own  studio,  and  took  proofs  with  his  own  hands,  as 
every  true  etcher  ought  to  do. 

The  value  of  his  etchings  has  increased  greatly  since  his 
death,  and  never  more  than  during  the  last  few  years.  A 
sing  e copy  of  his  whole  work  could  not  be  brought  together 
for  less  than  twelve  or  fourteen  thousand  pounds — even 
supposing  the  possibility  of  making  a complete  collection. 

The  plate  of  “Christ  healing  the  Sick  ” was  called  the 
Hundred  Guilder  Print,  because  Rembrandt  sold  a copy  of 
it  for  that  sum.  At  M.  de  Burgy’s  sale,  in  Amsterdam,  in 
1755,  an  impression,  in  the  first  state,  before  the  diagonal 
lines  on  the  neck  of  the  ass,  sold  for  84  guilders  (£7)- 
This  afterwards  became  the  property  of  Mr.  Barnard,  at 
whose  sale  (London,  1798)  it  was  bought  by  Mr.  G.  Hibbert 
for  ^3 3 : 1 : 6.  Mr.  Hibbert’s  collection  was  sold  in  1809, 
and  Mr.  Esdaile  bought  this  impression  for  £41:7:6. 
When  Mr.  Esdaile’s  collection,  in  its  turn,  came  to  the 
hammer,  this  impression  fetched  ^231,  Mr.  Holford  being 
the  purchaser.  Another  impression  was  bought  by  Mr. 
Smith,  at  Baron  Verstolk’s  sale,  in  Amsterdam,  1847,  for 
less  than  £ 1 40,  and  sold,  not  long  ago,  at  Mr.  Charles  Price’s 
sale,  to  Mr.  Palmer,  for  ^1180.  An  impression  in  the 
usual  state  was  sold  at  Mr.  Carew’s  sale,  in  1 8 3 5 , for  £ 1 6 : 1 os. ; 
at  M.  Debois’s  sale,  in  Paris,  1844,  for  £112  ; and  at  that 
of  Mr.  Johnson  (London,  i860)  for  £160. 

One  of  the  best  instances,  of  the  money-value  which 
attaches  to  mere  curiosity,  quite  independently  of  art,  is 
Rembrandt’s  “ Sleeping  Dog.”  He  originally  etched  this  in 
one  corner  of  a plate  measuring  about  four  inches  and  a 
quarter  wide  by  two  and  a half  high,  and  afterwards  cut  it 
down  to  three  and  a quarter  wide  by  one  and  a half  high. 
Only  one  impression,  in  the  first  state,  is  known,  which  sold 
at  Mr.  Hibbert’s  sale,  in  1809,  for  £1  : 10s.  The  Duke  of 

G 


82 


REMBRANDT. 


Buckingham  subsequently  obtained  it  for  £6  ; and  at  his 
sale,  in  1 834,  it  brought  £6 1.  In  1841  the  British  Museum 
gave  ^120  for  it.  The  difference  between  this  copy  and 
an  ordinary  one  is  exactly  six  square  inches  of  white  paper, 
so  that  the  British  Museum  actually  gave  a little  under 
twenty  pounds  per  square  inch  for  some  blank  paper  which 
Rembrandt  considered  injurious  to  his  etching,  since  he 
diminished  the  size  of  the  copper.  The  essential  point,  as  a 
matter  of  curiosity,  was  that  this  white  paper  should  be  within 
the  plate-mark.  This  may  be  taken  as  a typical  example  of 
that  purchasing  for  curiosity  which  is  so  distinct  from  the 
love  of  art.  If  the  size  of  the  copper  had  been  beneficial  to 
the  etching,  Rembrandt  would  not  have  reduced  it.  Artisti- 
cally, therefore,  in  Rembrandt’s  opinion,  the  needlessly  large 
copper  was  a defect,  and  the  first  state  not  the  best.  But, 
in  questions  of  price,  curiosity  always  influences  more  than 
art,  and  an  artistic  defect  will  be  extravagantly  paid  for,  if 
only  it  is  a proof  of  rarity ; especially  if,  as  in  this  instance, 
it  is  connected  with  some  odd  circumstance,  of  a character 
sufficiently  trivial  to  awaken  the  interest  of  persons  whose 
love  of  art  is  languid. 

SACRED  SUBJECTS. 

Hagar  dismissed  by  Abraham  (Blanc,  3 ; Bartsch,  30  ; 
Claussin,  3 7 ; Wilson,  37). — The  references  to  the  regular 
catalogues  will  save  the  space  that  would  be  occupied  by 
descriptions,  and  allow  us  to  devote  the  whole  of  these  pages 
to  pure  criticism. 

This  is  one  of  the  most  perfectly  delicate  of  all  Rem- 
brandt’s etchings.  The  sureness  of  the  faint  thin  lines  on 
which  the  expression  of  the  faces  chiefly  depends,  the 
masterly  reservation  of  reflections  and  half-lights  in  open 
shading,  the  opportune  omission  of  labour  where  omission 
was  better  than  toil,  justify  our  admiration.  Observe  the 


REMBRANDT 


83 


thoroughly  characteristic  drawing  of  Sarah’s  old  hands  and 
grimly  satisfied  face ; the  strokes  are  so  few  that  you  may 
count  them,  and  so  thin  that  it  needs  clear  sight  even  to  see 
them.  The  face  of  Abraham  is  just  as  good,  and  the  beard 
is  indicated  with  a dozen  strokes  towards  the  edge  of  it,  the 
rest  being  left  to  the  imagination. 

A brahams  Sacrifice  (Blanc,  6 ; Bartsch,  3 5 ; Claussin, 
36;  Wilson,  39). — Independently  of  its  very  fine  composi- 
tion, and  the  magnificent  style  in  the  drawing  of  Abraham 
and  the  angel,  this  plate  may  be  especially  recommended  as 
a fine  example  of  the  free  etched  line,  which  is  everywhere 
perfectly  frank  and  full  of  vital  energy. 

Jacob  and  Laban,  sometimes  called  Three  Oriental 
Figures  (Blanc,  7;  Bartsch,  1 1 8 ; Claussin,  120;  Wilson, 
122). — This  is  one  of  those  plates  of  Rembrandt,  more 
numerous  than  is  generally  supposed,  of  which  the  original 
coppers  still  exist.  The  fact  is  that  a considerable  number 
of  Rembrandt’s  original  coppers  are  still  in  material  exist- 
ence, though  the  greater  part  of  them  have  been  so  much 
deteriorated  by  wear,  and  so  injured  by  retouchings  and 
rebitings,  as  to  be  artistically  valueless.  The  most  delicate 
plates  have,  of  course,  suffered  most.  In  this  plate  of 
“Jacob  and  Laban,”  the  only  part  which  has  suffered  serious 
injury  is  the  black  shade  in  the  doorway,  which  is  con- 
siderably paler  than  in  the  earliest  impressions.  Close  lines 
always  give  way  soonest  in  the  printing,  and  a modern 
creve  can  scarcely  be  trusted,  if  not  steeled,  up  to  a hundred 
copies ; but  when  the  lines  are  kept  well  apart,  and  not  too 
shallow,  they  will  yield  large  editions  without  material  in- 
jury. All  th z popular  plates  of  Rembrandt  which  still  exist 
are  now  in  the  most  advanced  state  of  consumption  ; they 
are  even  more  unsubstantial  than  that,  they  are  ghosts. 

The  Presentation  in  the  Temple  (Blanc,  23  ; Bartsch,  50; 
Claussin,  54;  Wilson,  55). — There  are  three  “Presentations 
in  the  Temple,”  but  this  may  be  easily  known  as  the  larger, 


84 


REMBRANDT. 


upright  one;  it  is  further  distinguished  by  the  French  critics 
as  the  one  en  manilre  noire , by  which  they  mean  that  the 
plate  has  been  heavily  inked.  The  brilliancy  of  the  sacer- 
dotal vestments  is  rendered  here  with  a power  so  extraordi- 
nary, that  the  plate  is  a great  technical  feat.  The  lines  are 
coarse  and  rude,  but  so  entirely  synthetic  and  intelligent  in 
their  arrangement,  that  the  splendour  of  gold,  and  jewels, 
and  embroidery,  is  fully  suggested  to  the  imagination, 
The  high  priest,  who  is  standing,  is  one  of  the  most  im- 
posing figures  amongst  all  the  creations  of  Rembrandt, 
who  had  a keen  appreciation  of  sacerdotal  dignity  and 
magnificence. 

Repose  in  Egypt  (Blanc,  31  ; Bartsch,  58;  Claussin,  62  ; 
Wilson,  63). — This  plate  is  so  very  slightly  bitten  as  to  be 
exceedingly  pale,  but  M.  Charles  Blanc  believes  that  this 
feebleness  was  intentional.  Great  artists,  in  their  designs, 
have  often  drawn  whole  pages  of  such  extreme  delicacy  and 
paleness  that  their  work  is  half  invisible,  and  its  finest  pass- 
ages to  be  apprehended  by  the  imagination  alone.  It  is  a 
kind  of  artistic  caprice,  like  the  faint  playing  of  a musician 
when  he  imitates  music  in  the  remote  distance.  A plate  in 
this  condition  is  in  a very  good  state  to  be  carried  forward 
in  pure  dry-point. 

Jesus  Christ  preaching  (Blanc,  39  ; Bartsch,  67  ; Claussin, 
71  ; Wilson,  71). — One  of  the  finest  of  Rembrandt’s  sacred 
subjects,  and,  in  its  original  state,  one  of  the  most  simple  in 
execution.  The  copper  belonged  to  Norblin,  the  engraver, 
who  laboriously  retouched  it.  At  Norblin’s  death  it  was  sold 
to  Mr.  Colnaghi.  As  an  example  of  genuine  etchers  work 
an  early  impression  is  unexceptionable. 

The  Return  of  the  Prodigal  Son  (Blanc,  43  ; Bartsch,  91  ; 
Claussin,  95,  Wilson,  96). — Here  again  is  one  of  the  exist- 
ing coppers,  remarkable  chiefly  for  the  frightful  hideousness 
of  the  principal  figures.  Rembrandt  may  have  desired  to 
indicate  that  the  unfortunate  youth  had  become  swinish 


REMBRANDT. 


85 


from  companionship  with  swine,  but  surely  there  could  be 
no  especial  reason  for  the  ugliness  of  his  father.  There  is, 
however,  much  dramatic  truth,  and  even  some  tenderness,  in 
the  arrangement  of  the  group. 

Christ  healing  the  Sick  (Blanc,  49  ; Bartsch,  74  ; Claussin, 
78  ; Wilson,  78). — This  is  the  famous  etching  known  as 
‘The  Hundred  Guilder  Print/’  and  of  which  a single  impres- 
sion has  been  sold  for  the  enormous  sum  of  £1 180.  There 
are  several  other  plates  by  Rembrandt  at  least  equal  to  this 
in  artistic  quality,  but  from  its  large  dimensions  and  the 
delicacy  of  its  finish,  as  well  as  the  impressiveness  of  the 
subject,  and  the  force  with  which  the  scene  is  realised,  “ The 
Hundred-Guilder  Print/5  is  usually  considered  the  most  im- 
portant work  of  the  master ; and  the  unprecedented  sum 
which  has  been  lately  given  for  it  will  only  tend  to  confirm 
the  supremacy  of  its  position.  No  etching  was  ever  better 
finished,  as  true  etchers  understand  finish.  The  labour  is 
by  no  means  equal  throughout,  but  is  skilfully  expended 
where  most  required,  and  economised  where  it  could  only 
have  interfered  with  the  concentration  of  the  thought.  The 
realism  that  pervades  all  that  Rembrandt  ever  did,  does  not 
even  here  give  place  to  any  vain  attempt  at  style,  and  yet 
the  work  has  style  of  its  own  kind,  though  not  in  the  narrow 
classical  sense.  The  subject  is  one  with  which  we  have  been 
rendered  too  familiar,  by  many  artists,  for  it  to  exercise  its 
full  power  on  the  imagination  ; -and  it  requires  great  effort 
in  the  modern  mind,  detached  as  it  is  from  the  idea  of  the 
miraculous,  to  realise  the  actual  presence  of  a teacher  who 
could  enforce  his  doctrine  by  relieving  his  hearers  from  their 
heaviest  personal  calamities.  We  must  try,  however,  to 
sympathise  with  their  eager  hope  and  grateful  rejoicing,  if  we 
would  understand  the  expression  on  all  these  expectant 
faces. 

There  is  a good  deal  of  dry-point  work,  and  towards 
the  left  Rembrandt  took  care  to  remove  the  bur,  which 


86 


REMBRANDT. 


destroyed  the  balance  of  the  chiaroscuro.  The  market 
value  of  an  impression  in  the  first  state,  before  Rembrandt 
had  improved  and  completed  the  plate,  is,  of  course,  much 
greater  than  that  of  a perfect  copy,  Rembrandt’s  opinion 
being  held  of  slight  importance  by  connoisseurship,  in  com- 
parison with  the  merit  of  rarity  and  the  evidence  of  an  early 
impression.  There  is  a curious  logical  fallacy  involved  in 
the  anxiety  for  evidence  that  an  impression  is  an  early  one. 
Why  are  early  impressions  valued  especially  at  all  ? Because 
they  are  supposed  to  be  of  better  quality  than  later  ones. 
But  if  quality  is  the  object,  what  is  the  necessity  for  evidence  ? 
Is  not  quality  its  own  evidence  ? Connoisseurship  first  seeks 
early  impressions  for  their  quality,  and  then  distrusts  its  own 
judgment  as  to  the  very  thing  it  seeks,  and  so  is  obliged  to 
look  for  marks  by  which  an  early  impression  may  be  known. 
For  instance,  in  the  case  of  this  very  etching,  connoisseurs 
tell  the  first  state  by  the  absence  of  certain  diagonal  lines 
on  the  neck  of  the  ass. 

Descent  from  the  Cross  hy  Torchlight  (Blanc,  5 8 ; Bartsch, 
83  ; Claussin,  87;  Wilson,  88). — Although  the  great  “De- 
scent from  the  Cross”  is  much  more  generally  known,  and 
may  be  considered,  in  a certain  sense,  more  sublime,  I have 
an  especial  liking  for  this  ; the  work  is  so  right  and  manly, 
and  the  composition  so  natural  and  yet  so  full  of  art.  The 
way  in  which  the  sheet  is  thrown  upon  the  bier,  and  the 
masculine  indications  of  its  folds,  are  a lesson  for  our  modern 
etchers.  If  the  value  of  such  work  as  this  had  been  rightly 
understood  by  the  modern  English  and  Germans,  they  would 
have  avoided  half  their  errors. 

The  three  Crosses  (Blanc,  53;  Bartsch,  78;  Claussin, 
81  ; Wilson,  81). — In  the  short  chapters  of  the  First  Book, 
I spoke  of  frankness  and  passion  as  necessary  elements  in 
great  etching,  and  of  speed  as  a quality  in  itself  desirable, 
when  not  obtained  at  the  cost  of  necessary  modulations  in 
line.  This  etching  of  “ The  Three  Crosses”  is,  of  all  Rem- 


REMBRANDT. 


87 


brandt’s  important  plates,  the  most  passionate,  the  most 
frank,  and  the  most  swift.  Large  as  it  is,  the  composition 
is  nothing  more — or,  would  it  not  be  better  to  say  that  it  is 
nothing  less  ? — than  a rapid  memorandum  of  a true  vision  ; 
one  of  those  visions  seen  only  by  men  of  great  imaginative 
endowments.  So  far  as  we  may  presume  to  speculate  on  the 
operation  of  these  mysterious  and  rare  powers,  we  may  infer, 
from  the  extraordinary  energy  of  the  manipulation  and  abso- 
lute disdain  of  popular  requirements,  that  the  one  object  of 
Rembrandt  in  taking  this  great  copper  was  to  fix  his  vision 
for  ever,  without  regard  to  anything  but  the  sublime  verity  of 
the  transcript.  The  plate  afterwards  underwent  very  rough 
treatment  at  his  hands  ; much  of  the  early  work  was  effaced, 
and  several  afterthoughts  were  added  ; which  changes  of  in- 
tention only  serve  to  prove  the  ungovernable  ardour  of  the 
first  inspired  and  passionate  hour.  Rembrandt  was  in  the 
habit  of  keeping  coppers  by  him  ready  varnished,  and  I 
have  little  doubt  that  in  this  instance  the  plate  was  ready 
to  his  hand  when  the  light  from  heaven  came.  Many  a 
reader  may  have  lost  patience  with  me  when  I occupied 
whole  pages  with  purely  technical  considerations,  but  the 
entire  value  of  this  magnificent  plate  depends  upon  a techni- 
cal facility — the  ease  and  freedom  with  which  the  etching- 
point  glides  upon  the  copper,  at  any  speed  and  in  any 
direction.  It  is  certain  that  if  Rembrandt  had  been  set  to 
record  his  conception  with  the  burin,  he  must  either  have 
restrained  his  passion  whilst  the  slow  tool  ploughed  its  pain- 
ful way,  or  renounced  his  task  as  hopeless. 

The  Death  of  the  Virgin  (Blanc,  70;  Bartsch,  100; 
Claussin,  103  ; Wilson,  105). — Every  lover  of  art  comes, 
in  time,  to  have  private  predilections  which  he  cannot 
always  readily  account  for  and  explain.  Thus,  of  all  the 
plates  of  Rembrandt,  “ The  Death  of  the  Virgin  ” is  the 
one  that  fascinates  and  moves  me  most.  In  all  the  qualities 
of  art  there  are  at  least  four  of  Rembrandt’s  etchings  which 


88 


REMBRANDT. 


fully  equal  this ; yet  not  one  of  them  absorbs  me  so  com- 
pletely. The  solemnity  of  fast  approaching  death,  the  gravity 
of  the  stately  high-priest  and  the  calm  physician  ; the  sorrow 
of  others  present,  the  pale  face  upon  the  pillow,  and  the 
helpless  hands  upon  the  counterpane, — are  elements  of  a 
scene  which  renews  itself  too  frequently  ever  to  lose  its 
interest.  In  the  upper  air  of  the  lofty  room,  angels  wait  for 
the  spirit  which  the  nations  will  adore  as  the  Queen  of 
Heaven ; ard  the  scene  has  a grandeur  more  than  royal,  for 
it  has  the  sublimity  of  art.  Considered  as  etching,  the  work 
is  so  sound  and  right,  so  various  in  degrees  of  finish,  and  so 
masterly  in  choice  and  'direction  of  line,  that  “ The  Death  of 
the  Virgin  ” may  be  taken  as  one  of  the  great  typical  ex- 
amples of  what  etching  may  be,  and  ought  to  be.  If  the 
reader  would  give  half-an-hour  to  a fine  impression  of 
this  plate,  he  would  understand  for  ever  after  the  painful 
and  almost  indignant  feelings  with  which  we  hear  men  de- 
preciate etching  in  the  vanity  of  their  superciliousness. 


ALLEGORIES  AND  FANCIES. 

Youth  surprised  by  Death  (Blanc,  79;  Bartsch,  109; 
Claussin,  ill;  Wilson,  1 1 3 ). — The  figure  of  the  young 
man  in  this  exquisite  etching  is  by  far  the  most  elegant  of 
all  Rembrandt’s  creations ; indeed,  perhaps,  the  only  one 
which  has,  in  any  marked  degree,  the  character  of  elegance 
at  all.  There  is  a singular  delicacy  in  the  whole  of  the 
plate,  very  notably  in  the  hair  and  head-dress  of  the  women. 
It  has  been  beautifully  copied  by  Flameng. 

A Lion  Hunt  (Blanc,  87  ; Bartsch,  1 15  ; Claussin,  1 17  ; 
Wilson,  1 1 9). — A rapid  and  hasty  sketch  full  of  fire  and 
spirit,  and  curiously  resembling  in  its  peculiar  inspiration,  the 
ideas  of  Eugene  Delacroix. 

The  Bathers  (Blanc,  1 1 7 ; Bartsch,  195;  Claussin,  192; 
Wilson,  192). — Of  course,  no  artist  is  to  be  judged  by  his 


REMBRANDT. 


89 


worst  productions ; but  Rembrandt  is  so  great  that  he  can 
well  afford  to  be  frankly  criticised.  He  seems  to  have  been 
absolutely  indifferent  to  the  beauty  of  the  naked  figure,  but 
he  never  went  lower  than  this  in  the  recording  of  its 
hideousness  and  degradation.  We  might  compare  these 
men  to  gorillas  or  baboons,  but  they  are  more  repulsive ; 
because  the  ideal  of  the  baboon  does  not  involve  the  beauti- 
ful, whereas  the  ideal  of  man  reaches  to  the  Apollo  Belvedere. 
What  sort  of  satisfaction  Rembrandt  could  find  in  the  sketch- 
ing of  these  pitiable  objects,  is  a mystery.  They  have  not 
even  life  enough  to  enjoy  their  bath  like  men,  but  are  as 
miserable  and  shivering  as  they  are  shapeless. 


THE  BEGGARS. 

Rembrandt  etched  about  twenty-five  subjects  of  beggars, 
several  of  which  are  exceedingly  felicitous  and  curiously 
picturesque.  As  the  plates  of  some  of  these  subjects  still 
exist,  they  are  sold  at  low  prices ; but,  although  the  lines  of 
one  or  two  that  I have  examined  are  certainly  Rembrandt’s 
own  lines,  they  have  been  apparently  rebitten  to  make  them 
last  longer.  Of  course,  when  a plate  has  been  rebitten  by 
other  hands  than  those  of  the  etcher  himself,  it  can  no  longer 
be  considered  a strictly  original  work.  The  direction  of  the 
lines  is  what  the  artist  intends  it  to  be,  but  not  their  depth. 

The  reader  will  find  several  fine  copies  of  Rembrandt’s 
“ Beggars  ” in  M.  Blanc’s  Catalogue.  One  of  the  finest,  in 
some  respects,  is  No.  145,  “ Mendiants,  Homme  et  Femme.” 
Only  two  impressions  of  it  are  known  to  exist ; one  in  the 
Cabinet  at  Paris,  the  other  in  the  Museum  of  Amsterdam. 
The  plate  was  a failure,  and  Rembrandt  probably  destroyed 
it ; but  though  the  face  of  the  nearer  figure  is  a blot,  and 
though  the  execution  generally  bears  the  same  relation  to 
common  drawing  that  the  almost  illegible  manuscript  of  an 
excited  author  bears  to  the  rounded  pothooks  of  a schoolboy, 


90 


REMBRANDT. 


still  it  is  very  grand  work.  Another  very  fine  beggar  is  No. 
149,  “Gueux  a gros  Ventre.”  Observe  the  masterly  eco- 
nomy of  labour  in  the  cloak  and  boots  ; the  boots  especially 
are  splendid  examples  of  fine  swift  treatment  of  costume. 

ACADEMICAL  SUBJECTS. 

There  are  about  a dozen  etchings  of  the  naked  figure  by 
Rembrandt.  Some  of  these  are  very  common,  as  the  plates 
belong  to  M.  Bernard,  of  Paris,  who  still  prints  editions  of 
them.  The  naked  man  seated  on  the  ground  (Blanc,  160  ; 
Ba.  196  ; Cl.  193  ; W.  193)  is  a very  good  piece  of  evidence 
as  to  Rembrandt’s  matter-of-fact  interpretation.  It  is  simple 
realism,  quite  devoid  of  aspiration.  The  model  was  a poor 
one,  with  no  form,  and  Rembrandt  seems  to  have  felt  no 
impatience,  but  to  have  copied  the  bad  shapes  quite  con- 
tentedly. He  accepted  ugliness  without  repugnance.  The 
naked  woman  whose  feet  are  in  water  (Blanc,  164)  is  an  in- 
stance of  bad  form  of  another  kind.  The  young  man  had 
no  form  because  he  was  meagre  ; this  woman  has  none 
because  she  is  fat : both  etchings  are  as  repulsive  as  photo- 
graphs of  ill-chosen  models.  And  yet  these  two  reasons  are 
not  the  ultimate  statement  of  the  matter,  for  there  is  a lean 
ideal  and  a fat  ideal ; there  is  a leanness  which  has  a 
spiritual  beauty,  and  a fulness  which  has  a sensual  and 
material  beauty ; the  early  Italian  painters  knew  the  first, 
and  Rubens  knew  the  second,  but  Rembrandt  knew  neither. 
Yet  he  had  an  ideal,  but  we  need  not  look  for  it  in  his 
studies  of  the  naked  figure,  lean  or  fat ; his  ideal  was  not 
corporeal,  but  mental,  and  is  to  be  found  in  his  best  portraits, 
and  in  many  personages  in  his  religious  subjects,  who  are  as 
personal  and  individual  as  portraits. 

The  “ Diana  at  the  Bath”  (Bl.  165  ; Ba.  201  ; C.  198  ; 
W.  198)  is  little  better,  in  point  of  form,  than  the  woman 
with  her  feet  in  the  water,  but  the  figure  is  well  poised,  and 


PLATE  I. 

THE  CORPULENT  BEGGAR  (Gueux  A Gros  Ventre), 
After  REMBRANDT. 


Copied  by  the  Author . 


PLATE  I. 


(To  be  placed  opposite  page  90.) 

The  Corpulent  Beggar  (Gueux  a Gros  Ventre). 
After  Rembrandt 

Copie  a by  the  Author. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

Light  scratches  in  background  . . . . . 

7 

Darker  lines  on  edge  . . . . . ■ . 

12 

Finer  lines  on  cloak,  face,  top  of  cap,  and  shadow  in  background  . 

32 

Darkest  lines  of  cloak,  boots,  and  shadow  of  boots  . 

50 

First  proof  taken,  it  having  been  thought  unadvisable  to  carry  the 
biting  to  its  extreme  limit  for  fear  of  over-biting.  The  darkest 
lines  were  therefore  still  somewhat  weak,  and  needed  rebiting. 

Plate  covered  for  rebiting,  but  all  lines  protected  except  the 
darkest. 

Darkest  lines  bitten  20  minutes  more,  making  their  total 

70 

In  the  printing,  this  plate  is  well  wiped  with  the  canvas  only, 

which 

leaves  a slight  tint  of  oil.  It  has  then  been  lightly  retroussee  on  all  the 

darkest  lines.  The  face  is  not  retroussee,  nor  are  the  thin  scratch  ings. 

REMBRANDT. 


9i 


most  admirably  drawn,  technically.  This  is  by  far  the  finest 
of  all  Rembrandt’s  naked  figures,  much  finer  than  the  Antiope, 
for  instance,  though  the  pose  of  the  Antiope  is  good,  if  the 
forms  are  not. 

PORTRAITS. 

It  appears  to  be  very  difficult  to  etch  a good  portrait,  if 
we  are  to  judge  by  the  rarity  of  successful  attempts.  There 
are  scarcely  any  modern  etched  portraits  worth  mentioning, 
and  very  few  older  ones,  except  those  of  Rembrandt  and 
Vandyke.  Rembrandt  owed  something  of  his  success  in 
portraits  to  constant  practice  on  the  best  of  all  models — 
himself.  He  etched  his  own  portrait  more  than  thirty  times 
over,  in  various  dresses — an  amount  of  egotism  for  which  any 
modern  etcher  would  incur  the  most  severe  reprobation  of 
reviewers.  He  had  a picturesque  physiognomy,  and  was  as 
good  a subject  as  any  he  was  likely  to  find  ; nor  have  we 
the  right  to  blame  an  egotism  which,  in  his  case,  was  purely 
artistic,  and  very  far  removed  from  any  vulgar  sentiment  of 
vanity.  Rembrandt  knew  that  he  was  a good  subject,  and 
found  that  in  this  instance  the  model  readily  complied  with 
the  requirements  of  the  artist ; so  he  often  sat  for  hours 
before  his  looking-glass,  and  etched  the  keen,  plain  visage  he 
saw  in  it.  He  etched  his  old  mother  seven  or  eight  times, 
and  his  wife  half  as  often  : the  old  woman  had  a capital  face, 
and  her  illustrious  son,  then  young  and  obscure,  drew  it  with 
the  utmost  intelligence  and  affection.  His  early  portrait  of 
her  (Bl.  193  ; Ba.  354  ; C.  343  ; W.  348)  is  one  of  the  most 
perfect  of  all  his  works.  He  was  twenty -two  years  old  then, 
and  already  a great  master-etcher.  One  might  expatiate 
long  on  the  firm  and  exquisite  truth  with  which  the  wrinkled 
face  has  been  studied,  and  yet  the  wrinkles  are  not  mapped 
out  in  a servile  Denner-like  manner,  but  always  largely 
interpreted  with  reference  to  expression  and  anatomy.  See 
how  they  are  accentuated  on  the  temple  as  it  passes  into  the 


92 


REMBRANDT 


shade  ; how  the  reflected  lights  are  kept  clear  under  the  chin, 
where  they  have  scarcely  a perceptible  breadth  ; how  the  few 
thin  hairs  are  drawn  with  their  wave  of  curl  ; how  the  half 
extinguished  eye  retains  its  remnant  of  calm  light;  how  the 
placid  lips,  full  of  experience  and  quiet  capacity  of  irony, 
meet  in  their  sage  reserve ! There  is  another  very  fine 
portrait  of  the  same  old  lady  (Bl.  196  ; Ba.  345  ; C.  333  ; 
W.  339),  an  extraordinary  tour  de  force  in  the  rendering  of 
an  old  woman’s  face,  and  technically  remarkable  for  its 
translation  of  various  local  values  of  black  in  the  veil  and 
dress.  Of  Rembrandt’s  portraits  of  himself,  two  may  be 
especially  mentioned,— the  “ Rembrandt  with  the  Sabre  and 
Aigrette”  (BL  232;  Ba.  23  ; C.  23  ; W.  23),  and  “Rem- 
brandt appuyd  ” (Bl.  234;  Ba.  21  ; C.  2 1 ; W.  21).  The 
first  of  these  two  portraits  gives  us  Rembrandt  in  his  charac- 
ter of  a lover  of  strange  and  picturesque  costumes,  of  which 
he  had  a considerable  collection ; the  other  represents  him, 
very  probably,  in  the  dress  he  usually  wore,  and  is  that  from 
which  most  of  us  derive  our  idea  of  his  person.  He  lived  in 
an  age  when  a man  might  dress  picturesquely  without  being 
hooted  or  laughed  at,  and  so  indulged  his  artistic  instincts 
very  freely.  No  more  picturesque  scene  can  be  imagined 
than  the  interior  of  Rembrandt’s  house,  full  of  all  things 
that  his  eyes  desired  : of  arms,  and  carving,  and  porcelain, 
of  rare  tissues,  of  statues  and  busts,  of  pictures,  of  quaint 
furniture,  of  tapestries,  and  animals  and  plants,  of  spoils  of 
earth  and  sea.  In  the  midst  of  all  these  things  sat  that 
illustrious  and  immortal  genius — sat,  as  we  see  him  in  this 
portrait,  himself  not  less  picturesque  than  the  things  around 
him,  a masculine  and  robust  man,  knowing  the  aspects  of 
life,  and  scrutinising  all  things  with  those  sharp,  penetrating 
eyes.  What  interested  him  most  in  the  living  world  around 
him  was  neither  the  loveliness  of  women,  nor  the  grace  of  in- 
fancy, but  the  thoughtful  faces  of  mature  and  intelligent  men. 
Thus  he  drew  Cornelius  Ansloo,  a celebrated  preacher  of  those 


PLATE  II. 


PORTRAIT  OF  OLD  MOTHER, 

By  REMBRANDT. 


Copied  by  the  Author, 


PLATE  II. 


(To  be  placed  opposite  page  92.) 

Portrait  of  Old  Mother,  by  Rembrandt. 

Copied  by  the  Author. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

Palest  lines  at  roots  of  hair,  on  forehead,  behind  head,  at  lower  right- 

hand  comer,  etc.  ...... 

5 

Darker  touches  on  wrinkles,  thin  dark  lines  elsewhere,  hair,  etc. 

IS 

Other  dark  but  thin  lines  ...... 

30 

Darkest  lines  ........ 

45 

First  proof  taken. 

Plate  covered  again  with  black  ground,  and  a number  of  lines  and 
touches  which  had  been  omitted  now  drawn  in  their  places,  and  bitten  in 

the  same  proportion  as  above. 

Second  proof  taken.  Some  lines  and  touches  reduced  with  the  scraper, 

1 others  deepened  with  the  burin. 

In  printing,  this  plate  is  wiped  with  canvas  only,  and  not  reiroussfa. 

\ 


REMBRANDT 


93 


days ; Asselyn,  a painter  of  reputation  ; Ephraim  Bonus,  a 
physician  ; Clement  de  Jonghe,  a famous  publisher  of  prints  ; 
Janus  Lutma,  a well-known  goldsmith  ; the  Burgomaster 
Six,  and  other  personages,  in  almost  every  instance  remark- 
able for  an  appearance  of  strong  understanding  or  venerable 
dignity  which  compels  us  to  remember  and  respect  them.  It 
may  have  been  a subtle  flattery  on  the  part  of  Rembrandt 
to  give  to  his  sitters  a wise  and  meditative  look,  as  other 
portraitists  add  beauty  to  the  features,  and  dissimulate 
physical  defects  ; but  there  was  a sturdy  frankness  in  Rem- 
brandt’s nature  which  inclines  us  rather  to  the  belief  that  he 
would  not  have  condescended  even  to  this  delicate  species 
of  flattery,  and  that  there  existed  in  his  models,  at  least,  a 
strong  suggestion  of  the  qualities  he  attributed  to  them. 
The  one  rare  merit  of  these  portraits  is  that  they  never  seem 
to  lay  traps  for  our  admiration,  and  have  no  anxiety  to 
please.  The  Burgomaster  Six  is  reading  quietly  at  his  win- 
dow, without  a thought  of  the  world  beyond ; Ephraim 
Bonus  is  thinking  not  of  us,  but  of  the  patient  whom  he  has 
just  left  upstairs  ; Uytenbogaert,  the  gold-weigher,  is  entirely 
absorbed  in  his  accounts.  The  difference  between  these  por- 
traits and  too  many  modern  ones  is,  that  these  have  dignity 
without  pretension,  whereas  the  others  have  pretension  with- 
out dignity.  The  execution  is  sometimes  exceedingly  mar- 
vellous, as,  for  instance,  the  modelling  of  the  gold-weighers 
face,  the  moustache  and  imperial  of  old  Haaring,  and  the 
eyebrow  of  Janus  Lutma.  Whenever  the  hands  are  given, 
as  in  the  lesser  Coppenol,  the  Ansloo,  and  the  Lutma,  they 
are  drawn  in  a simple  and  direct  way,  but  with  singular 
attention  to  the  character  and  constitution  of  the  man. 
Whilst  on  the  subject  of  execution,  we  cannot  omit  to  men- 
tion the  remarkable  silvery  beard  worn  by  a nameless  old 
man  with  a fur  cap.  It  is  nearly  all  done  by  suggestion 
and  omission,  but  the  fulness  and  softness  of  it  are  perfectly 
expressed.  There  is  an  art  very  useful  to  etchers,  by  which 


94 


REMBRANDT. 


the  imagination  of  the  spectator  is  made  to  do  half  the 
work  ; Rembrandt  understood  this,  and  often  had  recourse 
to  it  with  much  cunning.  By  telling  you  what  the  hairs  are 
like  on  the  left*  side  of  the  beard,  he  makes  you  believe  that 
you  see  hairs  on  the  right,  though  in  reality  he  gives  you 
nothing  there  but  a space  of  blank  paper. 


LANDSCAPES. 

Though  Rembrandt’s  draughtsmanship  in  the  figure  was 
often  incorrect  as  to  proportion,  it  was  always  scientific  and 
based  upon  anatomical' studies,  which  we  know  to  have  been 
amongst  the  artist’s  valued  and  beloved  pursuits.  But  he 
did  not  draw  animals  so  well  as  men,  nor  trees  so  well  as 
animals,  and  was,  in  short,  much  less  scientific  as  a landscape- 
painter  than  as  a master  of  the  figure.  We  all  know  how 
the  study  of  landscape  has  lingered  behind  the  study  of  the 
human  body  ; but,  because  many  of  the  old  masters  brought 
to  the  execution  of  landscape-subjects  that  grand  and  govern- 
ing manner  which  they  had  learned  in  another  branch  of  art, 
and  because  they  could,  at  least,  express  their  sentiment, 
which  was  often  noble  and  just,  it  has  resulted  that  their 
reputation  is  considerable,  notwithstanding  the  limitations  of 
their  knowledge,  and  that,  even  in  these  days  of  more  accurate 
research  and  keener  interest  in  the  facts  of  the  external  world, 
these  old  masters  still  hold  their  ground  against  the  rivalry 
of  the  most  cultivated  moderns.  Thus  Rembrandt’s  manner 
in  landscape  is  better  than  that  of  any  modern,  except  Turner 
and  Haden ; and  our  skilful  English  landscape-painters, 
notwithstanding  their  far  greater  knowledge  of  the  various 
effects  of  nature,  have  a littleness  of  expression  with  the 
etching-needle  which  places  them  in  a lower  rank  as  artists. 
This  is  the  distinction  which  connoisseurs  universally  feel, 
and  which  makes  them  often  unjust  towards  the  moderns, 
and  blind  to  their  especial  superiorities.  I have  not  space 


REMBRANDT. 


95 


to  enter  into  the  difficult  question  of  what  constitutes  greatness 
of  style,  but  may  say  that  Rembrandt  had  it,  that  Claude 
had  it  in  another  way,  and  that  the  success  of  Haden  was 
mainly  due  to  the  possession  of  it. 

Rembrandt  etched  about  thirty  landscapes  of  various 
degrees  of  finish.  The  slightest  and  most  rapid  of  them  all 
is  the  “ Bridge  of  Six,”  of  which  Gersaint  tells  the  following 
story  : — Rembrandt  used  to  visit  his  friend,  the  Burgomaster, 
at  his  country-house,  and  one  day,  dinner  being  served,  behold 
there  was  no  mustard  ! The  Burgomaster  sent  his  servant 
into  the  village  to  get  some,  and  Rembrandt  made  a bet 
that,  before  the  mustard  was  placed  on  the  table,  he 
would  etch  a plate.  He  etched  this  bridge,  which  was 
visible  from  the  dining-room  window'.  The  point  of  interest 
in  this  anecdote  is  that  Rembrandt  took  a plate  which  was 
already  grounded,  and  that  he  had  several  with  him  so  pre- 
pared. An  etcher  ought  always  to  have  plates  ready,  because 
the  trouble  of  grounding  one  may  often  prevent  him  from 
seizing  a good  opportunity.  Another  point  proved  by  the 
story,  is  that  Rembrandt  etched  from  nature  directly,  not, 
perhaps,  as  a general  rule,  but  at  least  that  he  had  no  objec- 
tion to  the  practice.  The  “ Bridge  of  Six  ” is  a rapid  and 
slight  sketch  of  no  especial  merit  or  interest. 

The  reader  will  find,  amongst  the  landscapes  of  Rembrandt, 
several  very  fine  examples  of  the  use  of  the  dry-point.  One 
of  the  finest  is  the  “ Landscape  with  the  three  Cottages  ” (Bl. 
3 1 8),  in  which  the  bur  is  used  with  great  power,  though  with 
an  exaggeration  of  blackness.  The  same  power,  with  the 
same  exaggeration  of  rich  blacks,  may  be  found  in  othei 
plates,  especially  in  the  “Bouquet  de  Bois  ” (Bl.  323),  which 
is  entirely  engraved  in  dry-point.  The  “ Landscape  with  the 
Tower”  and  the  “Landscape  with  the  Square  Tower ”(Nos. 
324  and  319,  in  Blanc’s  Catalogue  (are  inspired  by  a very 
true  landscape  sentiment,  and  remain  always  in  the  memory 
The  “ View  of  Omval  ” (Bl.  312)  and  the  “ Cottage  with  th* 


9<5 


REMBRANDT. 


Great  Tree”  (Bl.  326),  are,  perhaps,  the  finest  examples  of 
Rembrandt’s  masterly  use  of  the  needle  in  pure  etching. 
The  distances  in  both  plates  are  remarkable  for  ease  and 
simplicity  of  manner. 

It  is  always,  however,  a mistake  to  attribute  too  much 
importance  to  manual  skill  in  etching,  or  in  any  other  of  the 
great  arts.  When  there  is  the  true  understanding  of  nature, 
and  the  true  artistic  sentiment,  manual  skill  usually  comes 
with  practice,  and  the  greatest  artists  never  trouble  themselves 
about  it,  warning  their  pupils  against  anxiety  on  that  score. 
The  distinction  between  the  possession  of  manual  skill  and 
artistic  genius  is  perfectly 'illustrated  in  the  case  of  Flameng, 
the  engraver  who  etched  the  wonderful  copies  from  Rem- 
brandt in  M.  Blanc’s  Catalogue.  I have  no  hesitation  in 
saying  that,  in  manual  skill,  Flameng  is  equal  to  Rembrandt,* 
or  to  any  etcher  who  ever  lived  ; and  yet,  in  the  first  edition 
of  this  work,  I did  not  think  it  necessary  to  mention  Flameng 
amongst  modern  etchers,  whilst  I gave  an  entire  chapter  to 
Daubigny,  who  is  clumsiness  itself  (or  was,  at  that  time)  in 
comparison  with  him.  If  Rembrandt  had  no  higher  claim 
on  our  consideration  than  mechanical  ability  with  the  point, 
he  would  not  deserve  mention  in  the  records  of  an  art  whose 
glory  is  to  spring  directly  from  the  mind. 

* This  assertion,  bold  as  it  may  seem,  was  fully  confirmed  later  by  the  publi- 
cation of  Flameng’s  copy,  in  facsimile,  of  the  famous  Hundred- Guilder  print,  a 
copy  which  in  all  technical  qualities  is  simply  equal  to  the  original.  Flameng  has 
his  due  place  in  this  edition  amongst  the  etchers  who  interpret  the  works  of 
painters. 


CHAPTER  III, 


OSTADE  AND  SEGA. 

,rjpHE  repugnance  which  a refined  modern  gentleman,  full 
of  scholarly  ideas  and  delicate  sympathies,  feels  for  the 
sort  of  humanity  in  which  Ostade  delighted,  is  strong  enough 
in  many  instances  to  counterbalance  all  the  technical  qualities 
of  the  artist,  and  permanently  repel  the  student.  Ostade  is 
not  the  only  painter  who  has  studied  the  habits  of  the 
peasantry  : we  have  just  seen  that  Rembrandt  had  a predilec- 
tion for  beggars,  and  the  cottages  of  poor  French  farmers  and 
labourers  have,  during  the  last  few  years,  been  the  favourite 
studies  of  a class  of  painters  by  no  means  wanting  in  refine- 
ment, whose  representative  is  Edouard  Frere.  Poverty  is  not 
a disqualification  in  the  living  subjects  of  a picture,  and  it  is 
probable  that  the  most  refined  artists,  if  obliged  to  choose 
between  the  interior  of  a rich  tradesman’s  dining-room,  or 
the  interior  of  a Highland  bothy,  or  a chaumiere  in  the 
Morvan,  would  prefer  the  rough  floor,  and  rude  furniture,  and 
simple  inhabitants,  to  the  carpets  and  mahogany,  with  their 
living  accompaniments  in  broadcloth  and  fine  silk.  The 
poor  do  not  repel  us  in  Faed,  or  Frere,  or  Duverger,'but 
they  are  very  repulsive  in  Ostade  and  Bega, — so  repulsive 
that  we  only  endure  them  for  the  sake  of  the  accomplished 
art. 

In  justice  to  ourselves,  let  us  say  that  it  is  not  the  poverty 
which  repels  us,  but  the  insensitiveness  of  the  painter  to  all 
that  is  best  amongst  the  poor  : his  incapacity  to  recognise  the 
true  refinement  of  the  rare  and  delicate  natures  which  ait  dis- 


98 


OSTADE  AND  SEGA. 


guised  in  mean  apparel,  his  blindness  to  that  beauty  of  charac- 
ter and  countenance  which  is  not  aided  by  the  arts  of  luxury. 
It  is  not  to  be  believed  that  when  Ostade  and  Bega  studied 
the  Dutch  peasantry,  the  whole  of  the  poor  population  of 
Holland  was  lost  in  bestiality,  or  that  all  the  nobler  feelings 
of  human  nature  were  utterly  crushed  out  of  it  by  the  weight 
of  care,  like  the  juice  from  trodden  grapes.  And  yet  their 
peasants  are  universally  mere  animals,  incapable  of  tenderness 
and  thought,  capable  only  of  instinctive  cares  and  besotted 
sensuality.  The  males  pursue  the  females,  the  females  give 
suck  to  their  young,  and  the  height  of  satisfaction  is  a 
swinish  contentment  in  the  fulness  of  the  belly  and  the 
apathy  of  the  brain. 

But,  though  on  the  human  side  there  is  nothing  in  this 
class  of  art  to  delight  a modern  public,  it  has  often  technical 
merits  of  a rare  order.  Ostade,  especially,  was  a composer 
of  remarkable  ability,  combining  in  the  most  felicitous  way 
the  two  compositions  of  form  and  chiaroscuro.  He  was 
very  inferior  to  Rembrandt  in  the  variety  of  his  execution. 
Rembrandt  had  many  resources  of  method  which  were  inac- 
cessible to  Ostade ; but  Ostade  had  always  craft  sufficient 
for  his  purpose,  and  could  reach  with  great  certainty  the 
effects  of  light,  the  transparencies,  the  accentuations  which 
gave  him  pleasure.  It  would  be  an  interesting  subject  for 
speculation  how  an  artistic  accomplishment,  which  in  its  way 
certainly  proves  much  visual  and  manual  cultivation,  was 
compatible  with  such  deadness  of  the  heart  and  such  apathy 
of  the  intellect.  Cases  of  this  kind  seem  to  prove  that 
technical  skill  in  the  fine  arts  is  possible  without  mental  eleva- 
tion, but  they  do  not  demonstrate  the  vanity  of  artistic  culture 
generally.  It  was  something  for  Ostade  that  he  could  at 
least  see  when  his  peasants  composed  well,  and  that  he  could 
enjoy  the  lights  and  shadows  which  gave  a sort  of  sublimity 
to  their  habitations.  An  accomplishment  may  be  worth 
having,  without  working  the  miracle  of  giving  nobility  to  a 


OSTADE  AND  BEGA. 


9 y 


low  nature,  and  we  do  not  despise  the  classical  languages 
and  theology  because  they  were  the  accomplishments  of 
Dean  Swift.  The  truth  is,  that  not  only  artistic  learning  and 
skill,  but  all  kinds  of  learning  and  skill,  may  be  attained 
without  much  advance  towards  nobleness  ; yet  this  does  not 
prove  them  to  be  without  a utility  of  their  own.  It  is  a fine 
thing  to  etch  well,  or  read  Greek  well,  or  perform  the  sword 
exercise  well,  independently  of  moral  results  ; and  the  sort 
of  praise  due  to  Ostade  is  that  which  may  be  justly  accorded 
to  those  who  excel  in  their  particular  craft. 

Bega  had  a still  lower  nature  than  Ostade  himself,  and, 
though  forcible  and  clever,  had  not  even  that  kind  of  refine- 
ment which  Ostade  possessed.  There  is  nothing  of  Bega’s 
comparable  to  Ostade’s  “Family”  for  delicacy  of  the  artistic 
kind  ; but  as  he  was  certainly  a true  etcher,  though  of  a de- 
graded school,  it  seemed  right  to  mention  him  in  this  book. 
The  observations  on  Ostade’s  coarse  interpretation  of  peasant- 
life  apply  in  their  full  force  to  Bega. 

Early  states  of  Ostade’s  etchings  are  now  of  great  value, 
and  have  risen  much  in  the  market  during  the  last  twenty 
years.  In  1838,  Mr.  Wilson’s  set  was  sold  for  ^105.  Mr. 
Seguier  afterwards  gave  ^159  : 12s.  for  the  same  set,  which 
was  sold  again  in  1844  for  ^309  : 15s.,  and  again  in  1846 
for  ^500.  It  is  now  worth  a thousand  guineas,  ten  times 
its  value  twenty  years  ago. 

OSTADE.  La  Famille  (Bartsch,  i.  378,  46). — The  reader 
would  do  well,  when  he  has  the  opportunity,  to  refer  to  the 
proof  in  the  British  Museum,  on  page  54  of  the  first  volume 
of  the  Ostade  Collection.  It  is  the  most  perfect  work  of  the 
master,  and  quite  remarkable  for  lighting  and  composition. 
Ostade’s  sense  of  \^hat  was  necessary  to  the  support  of  a 
group,  is  like  the  artistic  instinct  which  led  the  Gothic 
builders  to  use  buttresses  and  low  chapels  round  their  edifices, 
and  which  in  nature  gives  artistic  value  to  the  slopes  of  debris 


LOO 


OSTADE  AND  BEGA. 


at  the  feet  of  mountains,  For  example,  in  this  etching  the 
composition  rises  always  towards  the  right,  and  is  buttressed 
by  slopes  to  the  left.  See  how  amply  the  figure  of  the  man 
is  supported  by  the  boy  and  the  dog,  and  by  the  seated 
woman.  This  law  of  diminution  to  the  left  is  carried  out  in 
the  most  trifling  accessaries,  in  the  basins  above  the  door,  in 
the  spaces  between  the  three  cross-pieces  nailed  to  the  beams, 
in  the  two  boards  near  the  ladder,  in  the  openings  of  the  bed 
and  the  door.  If  the  woman  had  advanced  her  left  foot  in- 
stead of  her  right,  the  man  behind  her  would  not  have  been 
so  well  supported  ; and  if  the  little  dog  had  been  absent,  the 
buttressing  on  that  side  would  not  have  been  continued  to 
the  ground.  The  lighting  is,  of  course,  intended  to  give  im- 
portance to  the  group ; there  are  admirable  reflections  and 
transparencies  in  the  shade. 

Of  Ostade’s  small  plates,  the  reader  is  recommended  to 
study  (for  their  directness  of  manner)  the  bust  of  an  old 
peasant  with  a pointed  cap,  and  the  smoker  in  an  oval.  The 
“ Hurdy-gurdy  Player”  (dated  1647)  is  a curious  instance  of 
careful  rendering  of  the  folds  of  dress. 

Some  of  Ostade’s  original  coppers  exist  in  Paris,  but  they 
are  so  worn  that  impressions  are  now  worthless. 

BEGA.  Le  Cabaret  (Bartsch,  v.  240,  35). — A group  of 
peasants  in  an  ale-house,  with  a very  dark  shading  behind 
the  figures ; a brilliant  and  effective  plate,  but  coarse  in 
conception,  and  wanting  in  the  artistic  subtleties  that  dis- 
tinguish the  masterpiece  of  Ostade. 

Bega’s  common  fault  of  too  much  blackness  in  shadows 
is  equally  visible  in  a clever  little  figure  with  a short  cloak, 
“ L;  Homme  avec  la  Main  dans  le  Pourpoint  ” (Bartsch,  v.  228, 
10).  The  most  delicate  bit  of  work  by  Bega  is  the  woman 
in  the  lozenge,  “ La  Femme  portant  la  Cruche  ” (Bartsch,  v 
228,  9).  The  dress  is  very  cleverly  accentuated. 


PLATE  III. 


PEASANTS  DRINKING,  By  Ostade, 

A portion  of  a larger  Plate  representing  a Village  Feast 


Copied  by  the  Author. 


PLATE  III. 


(To  be  placed  opposite  page  100.) 

Peasants  Drinking,  by  Ostade,  a portion  of  a larger 
Plate  representing  a Village  Feast. 


Copied  by  the  Author 
BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit 

Minutes. 

Light  shade  on  flag  . . . . . . 

5 

Lightest  parts  of  tree  ....... 

10 

Distant  tree  ........ 

25 

Other  tree,  cottages,  and  distant  figures  .... 

35 

Foreground  figures  ....... 

50 

Foreground  ........ 

70 

First  proof  taken. 

Plate  covered  again  with  black  ground,  and  many  lines  drawn  which  had 
been  overlooked  in  the  first  drawing.  These  were  bitten  like  their  neigh- 
bours as  above.  A light  shade  was  also  added  here  and  there  over  lines 

already  bitten,  and  this  was  bitten  from  five  to  ten  minutes. 

The  plate  was  finished  with  a little  light  dry-point  work  here  and  there, 

and  a few  touches  with  the  burin. 

Plate  wiped  with  the  hand  in  printing.  The  immediate  foreground 

retrousse. 

V 


CHAPTER  IV. 


BERGHEM,  POTTER,  DUJARDIN. 

great  industry  of  Berghem,  and  his  accurate  know- 
ledge of  cattle,  give  him  a certain  firmness  and  pre- 
cision with  the  point  which  are  amongst  the  chief  reasons 
for  his  reputation  as  an  etcher.  Nothing  tends  more  to  the 
popularity  of  an  artist  than  a neat  and  clear  manner,  as  free 
as  possible  from  those  vague  seekings  after  excellence  which 
are  the  marks  of  advance  and  aspiration  ; yet  this  very  neat- 
ness is  a quality  which  the  higher  criticism  regards  with 
dubious  approval,  because,  though  it  proves  the  attainment 
of  skill,  it  fixes  the  limitation  of  effort,  and  too  frequently 
implies  the  abandonment  of  noble  aims.  Berghem  and 
Verboeckhoven  have  this  neatness,  but  Turner  and  Troyon 
have  none  of  it ; and  our  suspicions  as  to  the  value  of  the 
quality  are  fully  confirmed  by  a comparison  of  these  artists. 
Berghem  had  a kind  of  elegance  often  rather  out  of  place  in 
the  subjects  he  chose,  and  his  shepherds  and  shepherdesses 
attitudinise  with  airs  and  graces  that  belong  rather  to  the 
rustics  of  Florian  than  to  those  of  the  actual  world.  His 
shadows  were  exceedingly  transparent,  and  his  reflections 
bright ; he  had  the  art  of  using  emphasis  well  (with  a view 
to  the  kind  of  result  he  aimed  at)  and  he  had  absolute 
manual  skill.  But  I cannot  consider  him  a great  etcher,  and 
should  rank  him  as  nearly  as  possible  on  the  same  level 
with  the  modern  Gauermann. 

One  has  a natural  tenderness  for  Paul  Potter,  because 
he  died  so  early  (at  twenty-nine),  and  produced  such  clever 


102 


BERGHEM,  POTTER , DUJARDIN. 


pictures.  He  had  clear  sight,  a firm  hand,  a most  excellent 
memory ; but  no  imagination,  and  very  little  power  of  com- 
position. No  painter  who  ever  lived  retained  a more  vivid 
image  of  an  animal  after  having  seen  it,  nor  could  any  painter 
copy  that  image  better.  But  his  art  was  never  much  more 
than  a very  brilliant  copyism  of  facts,  though  since  these 
facts  were  usually  of  a nature  which  the  memory  alone  could 
enable  him  to  record,  his  art  is  on  that  account  more  wonder- 
ful than  the  patient  literalism  which  copies  a helmet  or  a vase. 
Paul  Potter  had  points  of  superiority  over  Berghem  in  his 
entire  freedom  from  false  elegance ; he  was  quite  unaffected, 
exceedingly  clear  and  accurate  in  handling,  yet  not  vain  of 
his  precision,  nor  at  all  anxious  to  display  it.  He  etched 
with  spirit,  but  was  deficient  in  freedom,  and  did  not  sketch, 
nor  see  things  with  the  comprehensiveness  of  a great  sketcher 
like  Rembrandt.  I admire  his  power  of  memory,  his  vivacity 
and  spirit,  his  genuine  love  of  animals,  his  knowledge  of 
animal  construction,  his  certainty  of  hand  ; but  consider  that 
his  weakness  in  comprehensive  sketching  and  want  of  imagi- 
nation disqualify  him  for  a place  in  the  first  rank. 

Karl  Dujardin  is  one  of  those  artists  who,  whilst  enjoying 
a great  reputation  amongst  the  class  of  connoisseurs  who  # 
never  work  from  nature,  retain  slighter  hold  on  our  admira- 
tion when  our  judgment  has  been  fortified  by  much  practical 
study.  He  learned  his  horse  by  heart,  and  his  cow,  and  his 
sheep,  and  his  pig,  and  his  donkey,  and  his  goat ; and  being 
able  to  draw  them  in  a regular  manner,  and  in  any  common 
attitude,  set  them  in  fancy  landscapes  of  the  kind  which  con- 
noisseurs receive  as  a sufficient  representation  of  nature. 
There  is  much  truth  in  the  attitudes  of  Dujardin’s  animals, 
and  the  power  of  drawing  them  as  he  did  is  by  no  means  to 
be  attained  easily,  for  it  requires  great  labour  and  a certain 
natural  gift  ; yet  such  animal  design  as  his  cannot  be 
accepted  as  of  first-rate  excellence,  because  it  is  too  methodi- 
cal, and  wanting  in  artistic  synthesis.  He  is  inferior  in 


BERGHEM,  POTTER,  DUJARDIN. 


103 


skill  and  knowledge  to  Paul  Potter,  but  nearly  of  the  same 
rank  in  point  of  artistic  conception  and  imagination,  and 
quite  free  from  the  misplaced  elegance  which  often,  .spoiled 
the  work  of  Berghem.  He  was  not  a good  etcher,  because 
he  could  not  sketch  well  ; but  his  name  could  not  be  omitted 
in  a work  on  etching,  on  account  of  his  considerable  reputa- 
tion. His  stiff,  precise  lines  are  not  to  be  recommended  for 
imitation,  and  his  ignorance  of  landscape  was  complete.  His 
merits  are  a certain  knowledge  of  animals,  expressed  with 
perfect  sincerity,  and  a dexterity  sufficient  for  his  purpose. 
His  lighting  is  often  luminous,  but  his  chiaroscuro  was  feeble 
because  he  had  not  the  least  idea  of  the  value  of  local  colour 
when  translated  into  black  and  white  ; and  in  most  of  his 
etchings  local  colour  is  altogether  omitted. 

A curious  instance  of  purchasing  for  curiosity  occurred  in 
the  case  of  some  animals  by  Berghem.  He  etched  two  sets 
of  six  each,  and  one  of  these  sets  was  executed  on  a single 
copper,  afterwards  divided.  Only  one  impression  taken  be- 
fore the  division  is  now  known,  and  the  British  Museum  paid 
£120  for  it.  The  present  value  of  that  proof  is  about 
^400,  and  its  only  superiority  over  good  impressions  of  the 
six  separate  plates  is  a matter  of  pure  curiosity,  depending 
upon  the  not  very  interesting  or  important  fact,  that  there 
is  only  one  large  plate-mark  instead  of  six  smaller  ones. 

BERGHEM.  The  Rivulet  by  the  ruined  Monument. — With- 
out elaborate  description,  the  reader  may  recognise  this  plate 
by  the  woman  who  is  seated  in  the  foreground,  with  her  left 
foot  in  the  water  whilst  she  wipes  the  right.  There  are 
other  figures,  and  cows,  and  goats,  and  sheep.  There  are 
traces  of  sculpture  on  the  monument,  especially  the  bas-relief 
of  a horse.  This  is  one  of  Berghem’s  most  brilliant  and 
characteristic  etchings.  The  brilliancy  is  obtained,  in  a great 
measure,  by  vigorous  little  bits  of  dark  inserted  in  places 
where  the  artist  had  a fair  pretext  for  their  introduction. 


104 


BERG  HEM,  POTTER,  DUJARDIN. 


Plates  of  this  class  are  usually  kept  very  light,  but  the  etchers 
were  always  on  the  look-out  for  such  little  spots  of  intense 
black  as  that  under  the  woman’s  armpit  here  : when  these 
were  vigorously  marked,  a certain  liveliness  was  the  result. 
The  student  will  observe  the  neat  sharp  draughtsmanship  in 
the  cattle,  and  the  rather  dandified  elegance  of  the  cowherd 
with  the  pole,  and  the  woman  who  is  washing  her  feet. 

The  Piper  (Bartsch,  v.  257,  4). — A man  on  an  ass  meets 
a pedestrian  with  a bagpipe,  and  talks  to  him,  showing  him 
the  way  with  his  hand.  Behind  the  piper  is  a man  driving 
sheep  and  cows.  To  the  right  are  many  trees,  and  in  the 
distance  a softly-wooded  hill.  The  group  in  the  middle  has 
a picturesque  outline,  and  is  exceedingly  rich  in  shade. 
The  work  in  this  central  group  is  generally  of  fine  quality, 
but  there  is  a somewhat  morbid  softness,  not  altogether 
masculine,  in  the  distant  foliage. 

The  Shepherd  by  the  Fountain  (Bartsch,  v.  259,  8). — Of  all 
Berghem’s  plates  this  is  the  most  characteristic  of  the  master. 
The  figures  pose  like  models  who  have  learned  their  business 
well,  but  not  very  like  the  peasants  of  actual  life.  The 
animals  are  all  remarkable  for  an  extraordinary  clearness  and 
neatness  of  execution.  Observe  especially  the  head  and  leg 
of  the  cow  in  the  foreground.  The  shadows  are  kept  exceed- 
ingly transparent,  and  the  reflections  light ; the  bucket  is  an 
epitome  of  Berghem’s  practice  in  these  respects. 

The  Goafs  Head  with  the  black  Forehead  (Bartsch,  v. 
267,  19). — A piece  of  very  exquisite  execution  of  its  kind, 
especially  in  ’the  horns  and  the  dark  hair  on  the  goat’s  fore- 
head. There  is  also  a small  plate  with  two  goats’  heads 
executed  with  equal  skill.  Work  of  this  kind  approaches 
more  nearly  to  modern  ideas  of  etching  than  that  of  the  old 
masters  can  be  generally  said  to  do.  It  is  not  unlike 
Gauermann  in  manner,  and  the  best  work  of  the  English 
Club  is  of  the  same  class. 


BERG  HEM,  POTTER,  DUJARDIN. 


PAUL  POTTER.  Two  Cows  in  the  foreground,  one  standing, 
the  other  lying  down  ; Herdsman  and  three  other  Cozus  in 
middle  distance. — The  original  copper  is  the  property  of  M. 
Galichon,  of  the  Gazette  des  Beaux  Arts.  It  may  be  con- 
sidered fairly  representative  of  Paul  Potter.  It  bears  out  my 
observation,  that  he  did  not  sketch.  The  two  cows  are  pre- 
sented with  great  force  and  with  much  brilliancy  of  effect ; but 
the  lines  have  never  the  freedom  of  great  etching,  and  are,  in 
fact,  a sort  of  engraving  with  the  etching-needle.  The  fore- 
ground plants  are  studied  leaf  by  leaf,  in  the  pre-Raphaelite 
manner,  and  with  the  pre-Raphaelite  deficiency  of  synthesis. 
The  three  cows  in  the  background,  instead  of  being  freely 
sketched  according  to  the  more  artistic  system  of  Rembrandt, 
are  here  engraved  with  a dry  formality  quite  opposed  to  the 
spirit  of  etching.  The  same  formality  may  be  observed  in  the 
foliage,  which  is  bad,  and  in  the  leafless  tree,  which  is,  if 
possible,  worse. 

The  Bull  (Bartsch,  i.  41,  1). — This  is  one  of  the  most 
firm  and  brilliant  of  Paul  Potter’s  works,  and  the  qualities  of 
it  are  concentrated  in  the  head,  though  there  are  fine  indica- 
tions of  form  on  the  body  of  the  animal.  There  is  a class 
of  his  etchings  which  have  no  pictorial  completeness,  but  are 
simple  studies  of  individual  animals.  Considered  as  studies, 
and  without  especial  reference  to  the  peculiar  qualities  of 
etching,  these  are  always  remarkable,  and  sometimes  even 
astonishing.  This  bull  is  one  of  the  best. 

Three  studies  of  Horses  ; Le  Cheval  de  la  Frise  (Bartsch, 
i.  47);  Le  Cheval  Frimissant  (Bartsch,  i.  49,  10);  La  Mazette 
(Bartsch,  i.  41,  13). — These  three  studies  are  amongst  the 
strongest  things  that  Paul  Potter  ever  did.  The  first  is  an 
illustration  of  power  in  repose,  the  second  of  eager  excitement, 
the  third  of  melancholy  decrepitude  and  of  death.  The 
most  marvellous  of  the  three  is  certainly  the  neighing  horse, 
which  is  a brilliant  feat  of  memory.  The  other  two  may  have 
been  studied  more  at  leisure. 


ro6 


BERGHEM,  POTTER, , DUJARDIN. 


Karl  Dujardin.  Cow,  Sheep,  and  Herdsman,  with  a city 
in  the  distance. — The  best  thing  here  is  the  head  of  the  cow, 
which  may  be  taken  as  a perfect  example  of  Dujardin’s  most 
successful  work.  So,  on  the  other  hand,  is  he  not  unfairly 
represented  by  the  childish  weakness  of  the  distant  landscape. 
There  is  not  the  least  merit  of  any  kind  in  the  trees  and  hill, 
and  the  buildings  all  lean  to  the  left,  in  defiance  of  gravita- 
tion. There  is  no  local  colour ; and  tree,  and  hide,  and  grass, 
are  all  left  white  in  the  light. 

A Ruin  near  a stream,  Artist  sketching. — Since  there  are 
no  cattle  here,  but  only  a landscape  and  buildings,  we  can 
expect  nothing  but  feebleness.  This  is  modest  and  unpre- 
tending work,  based  upon  the  notions  of  landscape  prevalent 
in  the  seventeenth  century  ; but  it  is  surprising  how  it  was 
possible  for  a man  who  had  really  studied  the  construction 
of  animals,  not  to  have  clearer  insight  into  that  of  inanimate 
nature.  Such  work  as  this  is  as  inferior  to  the  etching  of 
Haden  or  Lalanne,  as  the  water-colours  of  a modern  school- 
girl to  the  work  of  Richardson.  It  sometimes  happens  that 
an  artist  will  compensate  for  his  sins  against  natural  truth  by 
the  mere  power  of  his  workmanship  ; but  here,  as  in  all 
Dujardin’s  landscapes,  the  etching  is  as  technically  weak  as 
the  interpretation  of  nature  is  unintelligent  and  inadequate. 


CHAPTER  V. 

VAND  YKE  AND  HOLLAR. 

J N the  course  of  the  last  few  pages  there  has  not  been  very 
much  eulogy  of  the  unqualified  and  enthusiastic  kind. 
Good  etchers  are  exceedingly  rare,  having  hitherto  been 
produced  in  Europe  at  the  rate  of  about  two  in  a century. 
It  is  possible  that,  notwithstanding  the  divergence  of  opinion 
on  the  subject  of  the  rank  and  capabilities  of  the  art,  which 
unhappily  subsists  between  the  present  writer  and  the  large 
majority  of  the  general  public,  there  may,  nevertheless,  be 
more  harmony  between  us  than  we  supposed.  The  public 
is  indifferent  to  all  etchings  whatever ; the  critic  is  indifferent 
to  all  but  a very  few  etchings. 

No  true  critic  can  be  indifferent  to  Vandyke.  He  is  one 
of  the  great  princes  of  the  art,  a royal  master  who  is  to  be 
spoken  of  only  with  the  most  profound  respect.  He  had  all 
the  great  qualities  ; he  had  perfect  freedom  and  exquisite 
refinement ; he  used  the  needle  with  admirable  ease  and 
grace,  and  his  masterly  force  was  restrained  and  tempered 
with  a cultivated  severity.  But  it  is  inevitable  that  a genius 
of  this  kind,  whose  purposes  were  few,  and  who  always  kept 
steadily  to  the  path  where  success  ever  attended  him,  should 
not  offer  matter  for  so  much  commentary  as  the  less 
admirable  and  less  wise,  but  more  various  and  audacious 
artists  who  have  undertaken  many  different  enterprises,  and 
alternately  surprised  the  world  by  unexpected  triumphs  and 
almost  unaccountable  failures.  A writer,  cunning  in  his 
craft,  who  found  himself  obliged  to  supply  many  pages  about 


io8 


VANDYKE  AND  HOLLAR. 


Vandyke,  would  have  recourse  to  speculations  about  the 
personages  he  painted,  and  the  history  and  characteristics  of 
their  age;  so  that  the  artist  himself  would  become  nothing 
more  than  the  pretext  for  a dissertation  on  manners  and 
events.  But  of  Vandyke  himself,  as  an  etcher,  little  more  is 
to  be  said  than  the  few  sentences  already  written.  His  aims 
w^ere  few,  his  choice  of  means  instinctively  wise  and  right,  his 
command  of  them  absolute,  his  success  complete. 

Hollar  was  not  a painter,  but  a most  industrious  engraver, 
and  it  has  rarely  happened  hitherto  that  a professional 
engraver  has  produced  original  etchings  of  great  artistic 
value.  The  training  of  an  engraver  is  injurious  to  originality, 
and  restrictive  of  freedom,  it  has  also  the  drawback  of  being 
almost  exclusively  manual  and  interpretative  ; and  there  is 
always  a great  danger  that  the  engraver  who  attempts 
artistic  etching  will  fall  into  the  set  methods  which  have 
become  habitual  to  him,  and  think  less  of  the  great  artistic 
exigencies  than  of  that  manual  neatness  and  polish  which,  as 
an  aim  in  itself,  great  artists  have  ever  disdained.  There 
have,  however,  been  one  or  two  exceptions  to  this  rule ; and 
though  it  is  generally  true  that,  to  become  a great  etcher,  it 
is  necessary  to  be  first  a great  painter,  it  is  also  the  fact  that 
one  or  two  engravers,  by  profession,  have  etched  occasionally 
in  the  high  artistic  sense.  The  great  majority  of  Hollar’s 
etchings  are  not  to  be  recommended  as  examples  of  this 
particular  art,  but  one  or  two  of  them  have  a rare  and 
delicate  beauty,  which  gives  him  a certain  rank. 

The  proofs  of  Vandyke’s  etchings  have  greatly  increased 
in  value  of  late  years.  At  M.  Seguier’s  sale,  in  1844,  they 
averaged  from  three  to  eight  pounds  each,  and  were  then 
thought  to  be  very  dear.  At  recent  sales  they  have  produced 
sums  varying  from  eight  to  thirty  pounds.  Mr.  Marshall’s 
set,  which  a few  years  ago  might  have  brought  eighty  or 
ninety  pounds,  was  knocked  down  at  his  sale  (1 864)  for  ^400. 
It  may  be  considered  certain  that,  as  etching  becomes  better 


VANDYKE  AND  HOLLAR, 


109 

appreciated,  the  plates  of  Vandyke  will  attain  still  higher 
prices.* 

Vandyke.  Lucas  Vorstermans. — The  execution  of  the 
portrait  itself,  including  the  drapery,  is  quite  magnificent,  but 
the  background  is  rather  unfortunate  in  its  formality.  The 
regular  horizontal  lines  are  wanting  in  vivacity,  and  the  little 
dots  between  them  complete  the  appearance  of  mechanism. 
Whenever  Vandyke  falls  into  anything  like  mechanism,  it  is 
sure  to  be  in  a background  ; and  on  this  account  I should 
sometimes  prefer  an  early  state,  before  the  background  was 
added.  In  the  portrait  of  Vorstermans  the  hair  is  very  free 
and  beautiful,  and  there  are  some  remarkably  fine  darks  in 
the  drapery,  especially  to  the  left  side. 

Justus  Suttermans. — There  is  much  nobility  in  the  well- 
set,  intelligent  head ; but  the  wonder  of  execution  in  this 
portrait  is  the  costume,  especially  on  Suttermans’  left  shoulder, 
where  the  lightness  of  the  lace-collar  contrasts  with  the  firm 
and  elaborate  drawing  of  the  gatherings  of  the  cloth.  Observe 
the  good  sketching  of  the  right  hand,  and  the  way  in  which 
the  finish  of  the  left  shoulder  passes  gradually  into  free  and 
loose  indication  below  the  waist. 

Franciscus  Vrannx. — A grand  old  fellow,  with  a strong 
kind-looking  face  and  observant  eyes,  which  he  was  accus- 
tomed to  use,  for  Vrannx  was  a painter  of  Antwerp.  Observe 
the  masterly  indication  of  the  irregular  moustache  and  small 
beard,  and  the  flowing  lines  of  the  mantle. 

Joannes  Snellinx . — One  of  the  most  genial  of  all  Van- 
dyke’s portraits,  and  technically  one  of  the  finest.  The 
countenance  beams  with  good  humour,  and  the  etching  is 
luminous  and  lively.  The  figure,  in  this  instance,  has  received 
no  injury  from  its  background  of  sky  and  cloud. 

* A complete  set  of  Vandyke’s  etchings  has  lately  been  reproduced  by  M. 
Amand  Durand,  in  heliogravure , and  the  set  is  very  precious  to  a student  of 
etching,  from  the  rarity  of  the  originals.  The  price  is  sixty  francs. 


no 


VANDYKE  AND  HOLLAR. 


Hollar.  Gentleman  playing  on  a Guitar. — The  Hollai 
collection,  at  the  British  Museum,  is  so  very  extensive,  that  it 
may  be  well  to  inform  the  reader  that  this  is  the  last  plate 
in  the  sixth  volume  there.  The  guitar-player  is  seated  near 
an  open  window,  through  which  are  visible  a tower  and  some 
shipping.  The  guitar  is  of  curious  construction,  being  double- 
scrolled.  The  player  has  long  hair,  a beardless  youthful  face, 
and  very  beautiful,  somewhat  feminine  hands.  This  etching 
is  remarkable  for  a quite  extraordinary  delicacy  of  treatment, 
and  a most  exquisite  taste.  It  is  not  so  vigorous  as  the  work 
of  Vandyke,  but  fully  equal  to  him  in  elegance.  The  metho- 
dical habits  of  the  engraver  recur  most  in  the  window-opening, 
and  are  especially  observable  in  the  mechanical  treatment  of 
the  sky.  There  is  a great  deal  of  lovely  curvature  in  the 
guitar  and  the  player’s  hands,  and  it  is  probable  that  Hollar 
may  have  felt  the  utility  of  the  stiff  window  lines  as  a con- 
trast. The  tonality  of  the  whole  plate  is  quite  perfect  in  its 
own  key. 

The  Long  View  of  Greenwich. — Recommended  for  study, 
only  on  account  of  the  distance  and  the  observatory.  The 
foreground,  which  is  covered  with  dull  engraver’s  work,  is 
curiously  barren  and  uninteresting,  and  even  the  sky  is 
mechanical 


CHAPTER  VI 


CANALETTI,  RUYSDAEL,  AND  OTHERS. 
HERE  is  a certain  clearness  of  manner,  and  simplicity 


of  purpose,  in  Canaletti,  as  an  etcher,  which  makes 
his  work  esteemed,  not  only  by  connoisseurs,  who  usually 
follow  tradition  in  their  estimate  of  works  of  art,  but  even  by 
true  critics  and  artists.  It  is  possible  that  a reason  for  the 
reputation  of  his  etchings  may  be  that,  although  he  lived 
sufficiently  long  ago  to  be  accepted  with  the  respect  given 
by  connoisseurs  to  old  masters,  he  has  much  of  that  modern 
feeling  for  the  picturesque  which  most  of  us  secretly  enjoy, 
and  which,  in  this  case,  we  may  legitimately  applaud.  If 
Canaletti  were  a living  contemporary,  connoisseurship  would 
be  less  satisfied  of  his  merits ; for  connoisseurship,  like  the 
Catholic  Church,  waits  a hundred  years  before  it  canonises 
its  saints. 

Canaletti’s  work  is  clear,  and  simple,  and  honest ; but  it 
has  very  little  freedom,  a moderate  appreciation  of  beauty, 
no  grace,  and  no  imagination.  He  saw  that  Venice  was 
picturesque,  and  in  him  the  modern  enjoyment  of  architecture, 
as  a pictorial  subject,  found  its  first  adequate  expression ; 
but  we  have  better  architectural  painters  in  these  days  ; and 
though  good  etchers  are  always  very  rare,  we  have  one  or 
two  men  who  etch  better  than  Canaletti.  The  word  which 
best  characterises  him  is  respectable  mediocrity,  but  it  is 
mediocrity  still,  however  respectable. 

His  subjects  were  usually  well  selected,  and  his  effects 
pictorial,  though  of  the  most  ordinary  kind.  His  etchings 


1 12  CANALE  TTL \ RUYSDAEL,  AND  OTHERS. 


would  have  greatly  benefited  by  a more  thorough  study  of 
tonality  ; in  several  of  the  most  important  there  are  obvious 
faults  of  relation,  chiefly  due  to  a timidity  about  the  values 
of  near  shadow  and  of  local  colour.  In  slighter  work  than 
that  of  Canaletti  there  may  be  much  frank  omission , even  of 
tonic  relations ; but  he  laboured  his  plates  all  over,  and 
when  he  failed  in  this  respect  it  was  not  the  bold  transgres- 
sion of  consummate  science,  but  the  hesitating  error  of  half- 
knowledge. 

Ruysdael  has  an  immense  fame  amongst  connoisseurs, 
especially  on  the  Continent ; but  this  is  one  of  those  cases 
in  which  the  modern  study  of  nature  is  sure  to  drive  the 
student  either  into  secret  revolt  or  open  rebellion.  I say 
nothing  here  of  his  pictures,  which  are  out  of  my  present 
subject,  and  the  reader  may  worship  Ruysdael  as  a “god  of 
painting,”  if  that  kind  of  devotion  is  necessary  to  his  spiritual 
comfort ; but  of  Ruysdael,  as  an  etcher,  I say  simply  that 
he  is  down  somewhere  in  the  fifth  or  sixth  rank.  It  is 
intelligible  that  when  work  like  that  of  Ruysdael  is  held  up 
as  the  work  of  a great  master,  the  majority  of  the  public, 
not  having  time  to  investigate  the  matter  for  themselves, 
conclude  that  the  whole  art  of  etching  is  imperfect. 

Salvator  had  magnificent  gifts  of  a certain  kind,  but  was 
not  a great  etcher,  because  he  did  not  insist  upon  the  especial 
powers  of  the  art.  All  that  Salvator  did  in  etching  might 
be  done  equally  well  in  engraving,  and  he  really  aimed  at 
the  artistic  objects  of  the  great  Italian  engravers.  Some  of 
his  plates  are  admirable  in  their  way,  but  they  are  all  bad 
examples  of  etching.  The  finest  of  them,  to  my  mind,  is 
“ The  Abandonment  of  CEdipus,”  which  is  sufficiently  studied 
below. 

Dietrich  was  exceedingly  clever,  manually,  and  very 
various  in  manner,  but  he  was  remarkable  only  as  an 
unusually  apt  imitator  of  other  men’s  work.  His  talent,  in 
this  respect,  was  nearly  equal  to  the  wonderful  gift  of  our 


CANALETTI,  R UYSDAEL,  AND  OTHERS.  1 13 

contemporary,  Flameng,  and  would  have  been  better  em- 
ployed in  copying  rare  plates  of  the  great  masters  than  in 
attempting  subjects  of  his  own  choosing.  He  is  mentioned 
here  because,  if  the  reader  listens  much  to  the  prevalent 
ideas  about  etchers,  he  may  be  led  to  waste  time  in  studying 
him,  and  embarrass  himself  with  speculations  as  to  which,  of 
all  the  various  manners  in  which  Dietrich  worked,  was  the 
manner  of  Dietrich.  I doubt  whether  he  had  any  manner. 
A plate  is  mentioned  below  as  being,  in  all  probability,  the 
nearest  expression  of  his  personal  feeling  ; but  most  likely 
it  is,  as  to  workmanship,  a reminiscence  of  some  engraver 
unknown  to  me. 

Everdingen  produced  a considerable  number  of  etchings, 
of  which  by  far  the  greater  proportion  are  wholly  unprofitable 
for  study.  Considering  the  century  in  which  he  lived,  Ever- 
dingen was,  however,  remarkable  for  a genuine  love  of  wild 
scenery.  He  loved  rocks  and  mountain-streams,  with  cottages 
and  chalets , and  so  far  is  in  unison  with  our  modern  senti- 
ment. I am  rather  prejudiced  in  his  favour  on  this  account, 
and  should  have  been  glad  to  praise  him  heartily  if  he  had 
been  a more  powerful  aquafortist.  He  worked  generally  in 
a clear  and  intelligible  way,  and  several  of  his  plates  are 
very  pretty.  As  an  aquafortist  he  reached  a certain  moderate 
skill,  sufficient  for  the  expression  of  his  ideas,  but  had  not 
much  power  of  hand  or  nobility  of  style.  He  was  also 
destitute  of  invention. 

Waterloo  and  Weirotter  are  represented  by  examples 
given  in  this  book.  They  were  both  accomplished  men  in 
their  way ; and  Weirotter  is  especially  remarkable  for  his 
industry.  Waterloo  had  a great  liking  for  sylvan  scenery, 
which  he  represented  as  well  as  any  landscape-etcher  of  his 
time,  but  without  either  the  tenderness  of  Claude,  the 
grandeur  of  Salvator,  or  the  accurate  knowledge  of  the 
moderns.  Weirotter  was  very  fond  of  picturesque  buildings, 
of  which  he  etched  an  immense  variety,  usually  composing 

I 


1 14  CANALE TTI,  R UYSDAEL , AND  OTHERS. 


them  very  happily  with  other  materials,  such  as  marine 
subjects,  figures,  and  landscape.  He  had  the  great  artistic 
quality  of  being  able  to  reach  the  tonality  he  aimed  at,  in 
which  he  seems  to  have  had  a certainty  equal  to  that  of  a 
painter,  and  many  of  his  etchings  are  almost  as  complete,  in 
this  respect,  as  pictures.  They  are  frequently  luminous  and 
agreeable  in  aspect ; they  are  also  much  nearer  to  the  feeling 
of  modern  students  of  the  picturesque  than  the  work  of  older 
masters  usually  is.  The  copy  from  Weirotter  given  herewith 
is  a good  instance  of  this,  for  the  interest  of  the  artist  in  the 
detail  of  the  old  cottage,  and  the  way  he  follows  its  ins  and 
outs,  are  very  modern  indeed.  I find,  on  the  whole,  that 
Weirotter  rises  in  one’s  estimation  as  time  goes  on,  which  is 
the&est  proof  of  substantial  qualities  in  an  artist.  In  the 
plate  given  here  the  cloud  is  too  hard  and  rocky,  but  the 
sky  is  (at  least  in  the  original)  very  pure  and  equal  in  tone, 
and  the  buildings  are  treated  very  skilfully,  every  line  being 
studied  with  the  utmost  care  throughout  the  variety  of  its 
inflections. 

Canaletti.  La  Torre  di  Malghera. — A w’hite  tower  to 
the  right,  and  two  low  buildings  to  the  left  of  it ; mountains 
in  the  distance,  and  water  in  the  foreground,  with  a boat 
under  the  building,  and  a gondola  coming  into  the  picture, 
on  the  left.  There  are  clouds  in  the  sky,  which  is  etched 
with  much  labour.  The  water  is  entirely  rippled. 

Of  all  Canaletti’s  etchings  this  one  is  the  most  luminous 
and  the  most  modern  in  its  choice  and  interpretation  of 
subject.  The  buildings  are  etched  with  much  force  and 
considerable  freedom,  but  the  sky  is  too  mechanical. 

Le  Procuratie  e S.  Ziminian. — A large,  open  place  in 
Venice.  To  the  right  is  the  corner  of  a lofty  building  with 
balcony  shades,  and  to  the  left  another  building  with  arches. 
There  are  high  Venetian  masts  in  the  open  square.  This 
etching  is  truer,  as  to  general  tonality,  than  any  other  by 


PLATE  IV. 


COTTAGE  ON  A SHORE, 

Part  of  larger  Plate  by  WEIROTTER 


Copied  by  the  Author, 


PLATE  IV. 


(To  be  placed  opposite  page  114.) 

Cottage  on  a Shore,  part  of  a larger  Plate  by 
Weirotter. 

Copied  by  the  Author . 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

1 

Minutes. 

Extreme  distance  ....... 

4 

Sky  ......... 

8 

Shaded  cloud  . . . . . . . • . 

12 

Promontory  with  figures  ...... 

25 

Cottages  and  cote  ....... 

40 

Foreground,  water,  and  boats  ..... 

60 

First  proof  taken. 

The  plate  was  now  covered  for  rebiting,  and  all  the  darkest  portions 
were  rebitten  from  five  to  fifteen  minutes  more. 

Second  proof  taken. 

The  plate  was  now  covered  with  the  black  ground,  and  light  shades  added 
wherever  wanted.  These  were  bitten  from  eight  to  sixteen  minutes. 

Third  proof  taken. 

The  plate  was  finished  by  reducing  some  of  the  palest  lines  in  sky, 
cloud,  and  distance,  and  by  adding  a very  few  with  the  dry-point. 

It  is  printed  very  simply  indeed,  being  cleanly  wiped  and  not  retroussee. 


/ 


CANALE TTI}  RUYSDAEL,  AND  OTHERS. 


115 

Canaletti,  but  the  subject  is  somewhat  'formal,  and  much 
inferior,  as  picturesque  material,  to  those  which  Canaletti 
found  accidentally  in  places  less  generally  known. 

RUYSDAEL.  The  Little  Bridge  (Bartsch,  i.  3 1 1,  1). — This 
is  one  of  Ruysdaels  important  plates,  and  the  subject  in 
nature  was  no  doubt  exceedingly  picturesque,  but  the  artist 
has  not  fully  availed  himself  of  the  fine  quality  of  his 
material  The  rendering  of  decayed  thatch  and  rough  wall 
is  considerably  inferior,  in  point  of  skill,  to  good  modern 
work  ; and  the  relation  of  masses  is  so  entirely  lost  sight  of, 
that  the  plate,  as  a whole,  is  feeble.  There  is  little  composi- 
tion, for  the  etching  is  merely  a study : but,  such  as  it  is, 
more  might  have  been  made  of  it. 

The  Travellers  (Bartsch,  i.  313,  4). — A rivulet  running 
through  a forest.  A large  forest-tree  stands  towards  the 
left,  with  its  roots  in  the  water  ; a smaller  one  has  fallen 
forwards  across  the  stream.  On  the  right  hand  are  three 
travellers  on  the  river-bank,  and  above  them  a space  of  sky 
with  clouds. 

This  may  be  quite  fairly  taken  as  a representative  of 
Ruysdael’s  landscapes.  One  cannot  refuse  to  it  the  merit  of 
a certain  picturesque  wildness,  for  which  Ruysdael  had  an 
instinctive  feeling  ; but  only  those  connoisseurs  who  make 
themselves  the  uncritical  echoes  of  tradition  would  ascribe 
either  to  this  plate,  or  to  any  other  of  its  class,  any  especial 
value  as  an  interpretation  of  nature,  or  any  considerable  rank 
as  art.  It  is  work  of  nearly  the  same  value,  though  not  at 
all  of  the  same  kind,  as  that  of  the  modern  French  etcher 
Etienne ; yet  I did  not  think  it  necessary  to  give  special 
mention  to  Etienne  in  my  account  of  the  French  school,  and 
should  probably  have  omitted  Ruysdael  in  this  place,  if  his 
great  reputation  had  allowed  me  to  pass  him  in  silence. 

SALVATOR.  The  A bandonment  of  GE dipus. — The  shepherd 


i ib  CANALE  Til \ R UYSDAEL,  AND  OTHERS 


is  tying  CEdipus  by  the  feet  to  the  trunk  of  a great  chestnut- 
tree.  There  is  much  grandeur  in  the  design  of  this  tree, 
and  the  arrangement  of  the  figures.  Many  contemporary 
landscape-painters,  especially  Mr.  M'Callum,  could  draw  a 
fine  tree,  with  closer  imitative  veracity,  but  there  is  a magni- 
ficent passion  in  this  design  of  Salvator’s,  and  a determined 
intention  to  make  us  feel  certain  striking  elements  of  forest 
sublimity,  which  are  not  common  in  any  school,  and  always 
exceedingly  rare  amongst  the  literal  designers.  We  are 
made  thoroughly  to  feel  the  great  height  of  the  tree,  and 
the  vast  reach  of  its  far-spreading  intricate  branches.  Its 
trunk  rises  like  a lofty  tower,  and  its  clustered  leaves  poise 
themselves  above  our  heads  like  the  wings  of  innumerable 
birds.  These  qualities,  however,  might  have  been  equally 
well  given  in  a pen-drawing ; and  neither  this,  nor  any  other 
etching  of  Salvator,  insists  upon  the  especial  advantages  and 
superiorities  of  etching  as  an  independent  art.  Salvator, 
like  many  other  artists,  employed  etching  as  a convenient 
process  for  the  multiplication  of  his  drawings,  just  as  in 
these  days  he  might  have  employed  the  graphotype ; but  he 
was  not,  in  the  peculiar  and  especial  sense,  an  etcher. 

Dietrich.  The  Satyr  in  the  Peasants  House. — A satyr 
having  paid  a friendly  visit  to  a peasant,  accepts  his  hospi- 
tality, and  attempts  to  eat  hot  soup  whh  a spoon  ; but,  not 
being  accustomed  to  utensils  of  that  kind,  declines,  with 
much  energy  of  gesture,  to  repeat  the  experiment.  There  is 
plenty  of  vivacity  in  the  action,  and  the  group  is  engraved 
with  considerable  skill.  I use  the  word  engraved  purposely, 
because  this  is  rather  engraving  with  the  needle  than  free 
etching. 

EVERDINGEN.  Cottages  by  a Torrent  (British  Museum, 
Everdingen,  vol.  i.  p.  19). — Two  chalet-like  cottages  to  the 
left ; a stream  flowing  down  amongst  rocks  over  a weir  made 


PLATE  V. 


TREES, 

Part  of  a Landscape  by  WATERLOO. 


Copied  by  the  Author . 


PLATE  V. 


(To  be  placed  opposite  page  116.) 

Trees,  part  of  a Landscape  by  Waterloo. 

Copied  by  the  Author. 

In  this  little  landscape  the  organic  lines  and  the  shading  are  more  distinctly 
separated  than  is  common  with  the  older  masters.  It  may  be  taken  as  a good 
example  of  method.  Tl\e  plate  passes  through  two  distinct  states,  one  for  organic 
lines  and  the  beginnings  of  deep  shades,  the  other  for  light  shadings,  which  are 
thrown  over  what  is  already  done  as  a semi-transparent  veil. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

Clouds  and  distance  . . . . 

8 

Lightest  parts  of  trees  ....... 

12 

Foliage  generally  in  light  ...... 

30 

Dark  parts  of  trees  . . . . . 

45 

Trunks  and  figure  ....... 

55 

Foreground  ........ 

65 

First  proof  taken.  The  plate  was  now  covered  again  with  black  ground, 
and  all  the  light  shading  was  added.  This  was  bitten  from  seven  to 

twelve  minutes. 

Second  proof  taken.  A little  light  shading  with  dry-point  was 

added 

here  and  there. 

In  printing,  the  plate  was  cleaned  with  the  hand,  and  then  retrousske  in 

the  foreground  and  nearest  tree  to  the  right. 

CANALE TTI, , RUYSDAEL,  AND  OTHERS. 


117 


of  a trunk  of  pine  ; rocks  and  rising  land  to  the  right ; pines 
and  other  trees.  Four  goats  in  the  right  corner,  and  three 
other  goats  on  a shaded  rock  near  the  middle  of  the  etching. 

I think  this  is  the  most  charming  of  all  Everdingens  bits 
of  wild  river  scenery.  It  is  very  fresh  in  treatment,  and  it 
is  evident  that  the  artist  had  a real  liking  for  rocks  and  rude 
cottages  by  wooded  hills  and  streams. 

The  Man  near  a Gap  in  a Fence  (British  Museum,  Ever- 
dingen,  vol.  i.  p.  19). — A little  hill  with  a wooden  cottage 
on  it,  and  a wooden  fence  in  front  of  the  cottage  all  knocked 
down  ; there  are  some  pigs  and  goats,  and  a man  who  is 
walking  down  from  the  cottage  happens  to  be  near  an  open- 
ing in  the  fence — whence  the  title.  The  sky  is  clouded,  and 
there  are  a few  trees  behind  the  building. 

This  subject,  though  simple,  is  agreeably  composed,  and 
much  use  is  made  of  the  variously-inclined  stakes  in  the 
broken  fence.  In  the  quality  of  freshness  this  etching  is 
equal  to  the  preceding  one,  and  both  are  above  the  usual 
average  of  the  artist. 

Waterloo  (the  plate  of  which  a portion  is  given  here). 
— Waterloo  often  etched  studies  of  trees,  and  this  is  one  of 
the  best  examples  amongst  many  plates  of  his.  The  reader 
will  see  that  Waterloo  had  clear  ideas  of  the  richness,  and 
fulness,  and  softness  of  foliage  ; that  he  studied  the  projec- 
tion of  its  masses,  and  could  group  his  trees  effectively.  The 
black  shadow,  in  the  left-hand  corner,  forming  a triangle  with 
the  edges  of  the  plate,  is  a conventionalism  very  commonly 
found  in  the  landscape-art  of  Waterloo’s  time. 

WEIROTTER.  A River  Scene  (British  Museum,  vol.  ii.  p- 
5 6). — A group  of  boats,  with  sails,  in  the  afternoon  sunshine, 
their  stems  towards  the  spectator.  Men  are  taking  an  anchor 
in  a small  boat  to  the  right,  and  two  men  are  rowing  in 
another  small  boat  to  the  left,  over  which  is  a windmill  on 


n8  CANALETTI,  RUYSDAEL,  AND  OTHERS. 


the  shore.  For  its  brilliant  lighting,  clear  composition,  and 
fine  tonality,  I think  this  is  the  best  of  all  Weirotter’s  river 
subjects,  and,  on  the  whole,  his  most  desirable  etching. 

Civita  Vecckia. — A round  tower  to  the  left,  from  an 
opening  in  which  men  are  bringing  merchandise  down  an 
inclined  plane  to  a boat.  The  tower  and  other  buildings 
are  relieved  against  dark  trees,  and  there  are  large  white 
clouds  in  the  lower  part  of  the  sky,  against  which  come  the 
yards  of  several  lateeners.  The  foreground  is  entirely  water, 
calm,  but  slightly  rippled,  with  boats.  This  is  a very 
characteristic  example  of  Weirotter,  for  it  includes  all  the 
kinds  of  material  which  he  most  enjoyed.  The  plate  is 
bright  and  effective ; but  a greater  etcher  would  not  have 
given  to  it  such  steady  equality  of  labour.  Weirotter  could 
arrange  a subject  well,  and  had  much  manual  ability;  but 
he  had  not  the  wayward  choice,  the  delicate  emphasis,  the 
charming  caprices,  and  inimitably  wise  omissions  of  the 
nobler  aquafortists. 


CHAPTER  VII 


ZEEMAN 

JN  the  proportion  of  space  allotted  to  each  master,  in  the 
course  of  the  present  volume,  I have  usually  been  guided 
by  considerations  which  have  little  to  do  with  the  estimate 
of  his  rank  and  importance  which  is  most  generally  prevalent. 
The  popular  estimate  of  an  etcher’s  rank  is  not  based  upon 
his  etchings,  which  are  never  popular,  but  upon  his  paintings  ; 
and  etching  is  so  little  understood,  that  when  an  artist  has 
painted  well  and  etched  badly  (David  Roberts  and  Eugene 
Delacroix  are  recent  instances  of  this),  his  plates  easily 
obtain  a greater  degree  of  attention  than  they  deserve.  But 
even  if  the  general  estimate  of  an  etcher’s  work  deserved 
serious  attention,  which  it  does  not,  the  question  of  merit 
would  not  of  itself  decide  the  extent  of  space  which  ought 
to  be  allotted  to  him.  It  may  easily  happen,  as  in  the  case 
of  Vandyke,  that  the  most  distinguished  qualities  may 
belong  to  an  artist  of  whom  very  little  is  to  be  said,  whilst 
some  far  inferior  man  may  suggest  whole  pages  of  observa- 
tions on  the  practice  of  the  art,  which  ought  not  to  be  sup- 
pressed merely  because  they  are  not  connected  with  some 
illustrious  name.  The  subject  of  this  volume  being  much 
more  the  art  of  etching  than  the  men  who  have  practised  it, 
I have  gone  very  much  upon  the  principle  of  writing  when 
I had  something  to  say,  and  stopping  short  when  nothing 
more  remained  that  seemed  to  be  worth  communicating,  a 
principle  which  is  often  fatal  to  the  strictly  proportionate 
treatment  of  a subject,  but  which  nevertheless  has  the  one 


120 


ZEEMAN. 


great  compensating  advantage,  that  the  writing  is  not 
forced. 

Zeeman  was  not  noticed  in  the  first  edition  of  this  work, 
because  there  did  not  seem  to  be  any  special  reason  for 
noticing  him.  He  has  a chapter  in  this  edition,  because 
from  the  direction  of  the  most  recent  etching  it  is  clear 
that  the  danger  of  contemporary  students  lies  in  the  ambition 
to  be  elaborate,  and  especially  in  the  desire  to  realise  every- 
thing, without  leaving  anything  to  the  imagination.  The 
practice  of  some  etchers  of  the  Dutch  school  may  be  useful 
as  an  example  of  simplicity  of  treatment,  and  Zeeman 
especially  is  an  excellent  instance  of  this.  I am  far  from 
wishing  to  set  him  up  as  a great  etcher ; he  never  was  great, 
but  he  worked  on  clear  and  simple  principles  from  which  he 
never  departed,  and  modern  work  may  be  done  upon  the 
same  principles  whenever  we  choose  to  adopt  them.  Zee- 
man’s art  was  formal  and  naif,  and  not  nearly  so  rich  in 
various  knowledge  and  observation  as  the  art  of  the  most 
accomplished  moderns,  but  it  is  quite  possible  to  express 
much  richer  knowledge  than  he  ever  possessed  by  the  means 
which  he  employed.  There  is  no  necessity  to  adhere 
minutely  to  his  artistic  recipe,  it  is  enough  to  understand 
what  is  really  worth  attention  in  his  principles. 

His  artistic  recipe  was  to  divide  the  scene  into  three 
planes — distance,  middle  distance,  and  foreground;  the  dis- 
tance to  be  very  pale,  the  middle  distance  rather  dark,  and 
the  foreground  invariably  black.  Sometimes  there  were  four 
planes , in  which  case  there  would  be  two  middle  distances ; 
but  it  was  never  consistent  with  Zeeman’s  recipe  to  have  a 
light  foreground  and  a dark  distance,  though  such  a combina- 
tion occurs  very  frequently  in  nature. 

We  need  not  trouble  ourselves  about  any  recipe  of  this 
kind.  Modern  art  has  got  far  beyond  that  stage,  and  places, 
as  nature  does,  its  lights  and  darks  where  they  are  needed 
for  the  most  various  effects. 


ZEEMAN. 


12 1 


What  we  may  learn  from  Zeeman  and  other  artists  of 
his  time  is  the  value  of  a clear  decision  about  the  interpreta- 
tion of  nature.  His  mind  was  quite  made  up  about  the 
extent  to  which  he  meant  to  go  in  realisation.  All  very 
luminous  and  even  spaces  were  to  be  represented  by  blank 
paper,  fine  gradations  in  them  being  left  to  the  imagination 
of  the  spectator.  Shades  and  reflections  were  broadly  and 
quietly  given,  it  being  always  clear  whether  a mass  was  in 
shadow  or  in  light.  Texture  was  suggested  by  direction  of 
line  rather  than  by  actual  imitation  of  the  quality  of  surfaces. 
One  consequence,  to  Zeeman  himself,  of  the  adoption  of 
these  principles  was  that  his  works  are  never  muddled  by 
anxious  experiments.  All  that  he  intended  to  do  he  could 
do  without  any  painful  struggling  to  put  accident  on  his 
side.  Therefore,  it  may  be  well  for  any  one  who  is  wearied 
with  such  struggling  to  remember  that  the  true  ark  of  safety 
is  to  be  found  in  self-imposed  limits  to  interpretation.  In 
imposing  such  limits  upon  our  intentions,  we  do  not  accept 
“ imperfection,”  as  it  is  sometimes  called.  All  art  which  is 
perfect  as  far  as  it  intends  to  go  is  wholly  perfect,  and  truly, 
in  the  best  sens z,  finished.  In  this  sense  Zeeman’s  etchings 
are  more  finished  than  a great  deal  of  modern  work  which 
is  far  more  laboured ; and  if  the  great  purpose  of  art  is  to 
convey  impressions,  then  these  etchings  are  successful,  for 
they  always  fully  convey  the  impression  which  the  artist 
intended  to  communicate. 

I.  Marine  Subject. — Two  boats  with  sprit-sails  and  lee- 
boards  are  leaving  shore.  In  the  right-hand  corner  a man  is 
hauling  a small  boat  in  with  a boat-hook  on  the  highest  of 
seven  stakes  which  rise  out  of  the  water.  There  are  sails  in 
the  distance,  and  a square  tower,  with  a glimpse  of  land.  A 
few  clouds  in  the  sky,  and  birds  to  the  right. 

This  etching  quite  gives  the  idea  of  a tranquil  Dutch  sea 
picture,  with  afternoon  sunshine  on  calm  water.  The  boats 
are  drawn  with  perfect  knowledge,  and  the  reflections  will 


122 


ZEEMAN. 


bear  criticism.  A little  thing  is  often  of  much  importance 
in  art.  Here  the  shadows  cast  by  the  sprits  upon  the  sails 
give  most  of  the  impression  of  sunshine. 

2.  Marine  Subject. — Here  it  is  low  tide,  and  a sloop  is 
ashore  on  the  right.  There  are  several  figures  of  men  on 
the  sands,  and  a group  of  boats  are  drying  their  sails  in  the 
middle  distance.  In  the  distance  to  the  right  we  have  a 
church,  with  a spire  and  other  buildings;  to  the  left,  five 
boats  with  sails.  The  water  is  dead  calm. 

The  distance  and  middle  distance  are  very  slightly  bitten, 
and  the  sky  a blank,  except  a few  pale  clouds  and  a little 
horizontal  shading  at  the  top.  It  was  Zeeman’s  way  some- 
times, when  he  wanted  to  give  an  idea  of  calm  sky,  to  rule 
a few  horizontal  lines  at  the  top,  and  to  the  left,  but  he  left 
the  rest  blank.  From  the  length  of  the  shadows  cast  this 
must  be  morning  or  evening.  It  is  worth  observing  with 
how  few  lines  the  calm  sea  is  represented.  The  whole 
distance  is  exquisite  in  temperance  and  delicacy. 

3.  Marine  Subject. — Sailing-boats  receding  into  distance, 
the  nearest  of  them  with  a flag  at  the  poop,  as  well  as  at  the 
peak  and  mast-head,  and  a square-sail  under  the  bowsprit, 
a man-of-war  in  the  distance  to  the  left,  three  punts  and 
several  men  in  the  foreground. 

Nothing  is  better  adapted  than  shipping  for  the  study  of 
distances,  because  ships  can  be  placed  so  conveniently  at  the 
intervals  that  the  artist  may  desire.  This  plate,  part  of 
which  is  copied  for  the  present  work,  is  quite  a model  of 
this  very  useful  kind  of  study.'  In  the  early  stages  of 
practice  subjects  of  this  kind  will  be  found  especially  useful 
for  the  definite  purpose  which  they  give  to  three  or  four 
distinct  and  successive  bitings,  as  the  distances  are  marked 
by  clear  intervals,  and  not  by  difficult  gradations. 


PLATE  VI 


BOATS  NEAR  SHORE, 

Part  of  a plate  by  Zeeman. 


Copied  by  the  Author. 


PLATE  VI. 


(To  be  placed  opposite  page  122.) 

Boats  NEAR  Shore,  part  of  a Plate  by  Zeeman. 


Copied  by  the  Author. 

BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

The  most  distant  boats,  the  clouds,  and  the  sail  of  the  nearest  boat 

but  one  ........ 

7 

The  nearest  sailing  boat,  and  the  hull  of  the  nearest  but  one 

15 

Water  near  foreground  ...... 

20 

Water  in  the  immediate  foreground  ..... 

30 

Foreground  figures 

45 

Darkest  things  in  foreground  ...... 

65 

First  proof  taken. 

The  plate  was  now  as  intended,  except  that  some  of  the  palest  lines, 
having  been  purposely  overbitten  (7  min.),  had  to  be  weakened  with  the 
scraper  and  burnisher,  whilst  other  lines  had  to  be  introduced.  This  was 

done  with  the  burin. 

The  plate  is  printed  simply,  with  slight  retroussage.  It  is  wiped  with 

canvas,  not  with  the  hand. 

CHAPTER  VIII 


GOYA . 

JT  has  not  been  part  of  the  plan  of  this  book  to  give 
either  biographical  detail,  or  much  commentary  on  those 
qualities  of  artists  which  lie  altogether  outside  of  the  artistic 
qualities.  It  is  easy,  under  the  pretext  of  art-criticism,  to 
fill  volumes  both  larger  and  more  readable  than  this  with 
matter  in  which  purely  artistic  studies  are  a very  inconsider- 
able ingredient ; and  I am  clearly  aware  that  a shrewder 
literary  craftsman  would  have  thrown  the  art  of  etching 
altogether  into  the  background,  and  amused  his  readers  with 
pleasant  stories  about  the  adventures  of  Salvator  and  the 
amorous  intrigues  of  Goya.  Resisting  these  temptations,  I 
have  kept  in  view  one  purpose  only,  the  study  of  etching  as 
an  art,  and  have  given  space  to  etchers  only  so  far  as  they 
have  either  really  excelled  in  the  art,  or  at  least  had  the 
reputation  of  excelling  in  it. 

Whoever  cares  to  know  about  the  life  of  Goya  may  find 
full  information  in  M.  Charles  Yriarte’s  “Biography”  (pub- 
lished by  Plon,  io  Rue  Garanciere,  Paris,  1867),  which, 
though  a narrative  of  facts,  is  the  most  extraordinary  romance 
of  artist-life  imaginable.  Goya  was  a man  of  very  remark- 
able endowments  outside  of  art.  He  had  immense  physical 
energy  and  courage,  and  at  least  as  much  moral  audacity. 
He  was  ready  to  measure  swords  with  any  bully  who  might 
present  himself,  and  sought  adventures  of  this  kind  in  the 
disorders  of  the  public  streets.  His  numerous  illustrations 
of  bull-fights  are  derived  from  personal  experience  in  the 


124 


GOYA . 


arena,  but  he  defied  things  even  more  dangerous  than  any 
mere  animal  rage,  for  he  was  openly  revolutionary  in 
religion  and  politics,  exposed  himself  to  the  hostility  of  the 
Inquisition,  and  even  violated  the  rigid  etiquette  of  the 
Court  of  Spain.  His  successes  with  the  fair  sex  were 
innumerable ; his  strength  and  courage,  his  easy  self-confi- 
dence and  conquering  address,  made  him  a master  in  the 
arts  of  gallantry,  and  he  had  mistresses  in  every  rank  of 
life,  from  the  women  of  the  common  people  to  the  most 
exalted  ladies  of  the  court. 

Goya  had  imagination,  but  of  a frightful  sort,  like  the 
imagination  of  a man  suffering  from  delirium  tremens ; yet 
this  imaginative  familiarity  with  evil  spirits  does  not  seem 
to  have  affected  the  happiness  of  his  existence,  a happiness, 
such  as  it  was,  based  on  the  substantial  realities  of  the  most 
robust  health  and  complete  professional  success,  with  the 
satisfaction  of  all  the  appetites  of  an  energetic  animal  nature. 
His  etchings  are  the  expression  of  his  violent  and  ebullient 
personality  ; they  are  full  of  passion,  but  it  is  observable  that 
there  is  no  trace  of  any  delicate  or  tender  sentiment,  or  rather 
that  what  in  other  men  would  have  been  a sentiment  of  this 
kind,  as,  for  instance,  pity  for  the  sufferings  of  the  afflicted, 
takes,  in  Goya,  the  form  of  protest  and  antagonism,  and  be- 
comes a furious  cry  of  hatred  against  the  oppressor.  M. 
Yriarte  tells  us  that  in  Spain  there  exist  pictures  by  Goya 
which  prove  artistic  delicacy  and  good  taste,  that  there  are  pas- 
sages of  sweet  colour,  and  feats  of  tranquil  and  loving  finish  ; 
but  I am  compelled  to  doubt  whether  M.  Yriarte’s  enthusiasm 
for  the  subject  of  his  book  may  not  have  led  him  to  regard 
those  works  too  favourably.  It  is  certain  that  he  immensely 
exaggerates  Goya’s  rank  as  an  aquafortist,  in  attributing  to 
him  great  technical  skill,  and  especially  in  saying  that  he 
has  “ few  rivals  in  the  practice  of  his  art.”  I have  met  with 
a small  original  etching  by  Goya,  “ The  Prisoner,”  of  which 
the  copper  belongs  to  M.  Lefort,  and  that  plate  is  good  even 


GOYA. 


125 


as  an  etching  ; the  quality  of  the  work  is  really  fine.  This 
may  be  considered  to  prove  that  Goya  was  capable  of  etch- 
ing well  occasionally,  but  to  etch  well  was  not  his  usual 
practice.  He  generally  etched  rashly,  audaciously,  and  with- 
out the  slightest  care  or  pains  to  reach  any  beautiful  or 
agreeable  quality.  It  is  quite  possible  that  a good  painter 
may  be  a bad  etcher  ; there  are  several  instances  of  this 
amongst  our  contemporaries  ; and  it  is  also  possible  that 
his  etching  may  bear  some  of  the  worst  marks  of  presump- 
tuous amateurship.  Goya  was  original  in  manner,  because 
he  took  up  the  process  without  profiting  by  the  experience 
of  his  predecessors  ; but  ignorance  is  generally  original,, for 
it  has  no  traditions.  It  is  natural  that  literary  men  should 
like  to  write  about  Goya,  because  he  is  an  excellent  subject, 
and  very  strong  things  may  be  said  about  his  works  without 
overstepping  the  limits  of  simple  truth.  A well-known 
living  poet  wrote  a volume  entitled  “Chastisements,”  and  at 
the  close  of  some  verses  of  extraordinary  force,  said  grimly 
to  his  victim,  “ I hold  the  red  iron,  and  I see  thy  flesh 
smoke  !”  This  is  exactly  the  temper  of  Goya : he  was 
always  inflicting  chastisements,  always  holding  red  branding- 
irons,  and  watching  the  steam  hissing  from  the  shrivelled 
cuticle,  and  the  bubbling  blood.  Of  all  the  great  satirists, 
he  is  nearest  to  the  nature  of  a fiend.  It  was  here  that  his 
power  lay,  in  his  Satanic  hate  and  scorn,  not  in  the  mastery 
of  a refined  and  delicate  art.  It  is  right  to  add  that,  though 
licentious  to  the  depths  of  his  being,  he  had  more  sympathy 
with  certain  great  modern  ideas  than  any  other  famous 
Spaniard.  He  was  a son  of  the  great  revolution,  and  liberal 
in  feeling,  though  attached  to  a dissolute  court.  His  works 
have  an  important  philosophical  bearing,  often  disguised  to 
evade  the  Inquisition,  and  he  tried  to  make  men  disgusted 
with  the  horrors  of  war.  Even  his  immorality  is  sometimes 
only  a protest  against  the  still  deeper  legal  immorality  of 
the  mariage  de  convenance. 


126 


GOYA. 


Bull-fighting:  Plate  3. — An  artist  who  undertakes  to 
illustrate  the  science  of  bull-fighting  ought  at  least  to  be 
able  to  draw  the  parts  of  a bull.  The  ignorance  of  con- 
struction is  here  so  complete,  that  the  nostrils  are  repre- 
sented by  two  small  round  holes,  the  eye  is  out  of  proportion 
and  badly  set,  and  the  ear  is  not  in  its  right  place.  There 
is  not  a single  instance,  in  all  the  thirty-three  illustrations  of 
bull-fighting,  of  an  eye  or  an  ear  even  tolerably  well  drawn. 
In  one  or  two  plates  the  nostrils  are  a little  better  than 
these,  but  Goya’s  most  general  notion  of  a nostril,  either  in 
a bull  or  a horse,  is  a round  hole  bored  with  a large  gimlet. 
He#  has  never  in  a single  instance  drawn  the  ear  of  either 
animal. 

Bullfighting:  Plate  7.  — Goya’s  childish  ignorance  of 
animal  form  was  seldom  more  strikingly  manifested  than  in 
the  wretched  little  bull  in  the  right-hand  corner  of  this  plate. 
There  was  no  difficulty  in  the  attitude,  for  it  is  the  easiest 
of  all  possible  attitudes  ; and,  since  it  is  the  same  as  that  of 
Paul  Potter’s  bull,  the  reader  may  advantageously  compare 
the  two  animals.  Paul  Potter  had  not  the  fire  of  Goya,  nor 
his  ferocity,  but  he  condescended  to  study  nature,  which 
Goya  did  not,  and  so  taught  himself  the  proportions  of  the 
creature,  and  the  shape  of  its  most  important  joints.  To 
begin  at  the  ground,  look  at  these  hoofs  and  fetlocks  ! Could 
the  bull  gallop  with  them  ? Could  he  even  stand  on  them  ? 

Bull-fighting : Plate  10. — If  you  take  an  old  rocking- 
horse,  and  char  its  head  with  fire,  and  then  smear  what 
remains  of  its  face  with  thick  white  paint,  you  will  possess, 
in  sculpture,  a work  of  art,  accurately  corresponding  in 
scientific  truths  and  artistic  value  to  this  wonderful  horse  of 
Goya.  The  combination  of  ignorance  with  assurance  never 
ended  in  the  production  of  art  more  hideously  corrupt.  Its 
formlessness  is  like  the  falling  away  of  the  putrefied  flesh. 
The  art  here  is  not  merely  lifeless,  but  it  is  rotten — not  a 
pleasant  word  to  use,  but  the  most  appropriate. 

Caprices:  Plate  23,  Aquellos  Polbos. — The  first  two 


GOYA. 


127 


words  of  a Spanish  proverb,  which  means,  “ From  this  dust 
comes  that  mud.”  The  subject  is  a woman  condemned  by 
the  Inquisition,  and  clothed  in  the  frightful  and  fantastic 
costume  which  its  victims  had  to  wear.  It  is  the  nearest 
approach  to  good  etching  by  Goya  that  I remember.  The 
figure  is  simply  and  vigorously  indicated,  and  there  is  nothing 
unnatural  or  distorted  in  the  attitude. 

Caprices  ; Plate  3 o,  Porque  esconderlos  ? (“  Why  hide 

them  ? ”) — An  old  man  wants  to  hide  his  money-bags,  and 
his  heirs  are  laughing  at  him,  because  they  know  that,  how- 
ever closely  he  clutches  them,  his  death  will  shortly  place 
them  in  other  hands.  Nothing  can  exceed  the  hideousness 
and  baseness  of  these  figures ; and  the  curious  thing  is  that 
Goya  evidently  liked  to  contemplate  such  baseness. 

Caprices  : Plate  36,  Mala  Noche. — Two  wretched  women 
out  in  a dark,  windy  night,  their  dresses  blown  about.  There 
is  some  poetry  here,  of  a terrible  kind,  and  the  plate  is 
impressive.  Goya’s  system  of  aquatinting  for  light  and 
shade,  though  artistically  far  more  less  complete  than  Turner’s 
mezzotint,  from  the  all  but  total  absence  of  gradation,  is  here 
sufficient  for  his  purpose,  and  gives  the  necessary  violence  of 
opposition  to  the  white  petticoats  of  the  women,  and  the 
necessary  blackness  to  the  night. 

The  etchings  of  Goya  are  in  several  different  series  ; 
The  Caprices , 80  plates;  The  Disasters  of  War , 80  plates; 
Bull-fighting,  3 3 plates  ; The  Proverbs  ; and  The  Prisoners. 
He  also  etched  a series  of  horses  after  Velasquez,  and  a 
series  of  dwarfs  after  the  same  master,  besides  many  original 
separate  plates.  Many  of  these  are  now  rare,  and  I have 
only  studied  about  two  hundred  of  Goya’s  etchings  ; enough, 
however,  to  convince  me  that,  though  he  had  certainly  the 
genius  of  a satirist,  and  plenty  of  imagination  of  the  most 
horrible  kind,  his  etchings  have  little  artistic  value,  and  owe 
their  great  fame  to  the  fascination  of  their  incomparable 
horror,  and  a kind  of  philosophical  reflection  whose  bitterness 
suits  our  taste. 


CHAPTER  IX. 

JONGKIND. 

F the  first  edition  of  this  work  I noticed  Jongkind  in  a 
chapter  devoted  chiefly  to  the  minor  Frenchmen,  but 
further  study  has  decided  me  to  give  him  a chapter  to  him- 
self, as  it  happens  that  the  qualities  he  relies  upon  are  still 
most  rare  in  the  modern  schools.  The  purpose  of  his  art 
as  an  etcher  may  be  explained  in  a few  words.  All  land- 
scape-painters make  memoranda  of  impressions,  which  must 
of  necessity  be  done  very  rapidly  if  they  are  to  be  worth 
anything,  because  the  effects  in  nature  change  so  fast  that 
they  cannot  be  sketched  at  all  by  a slow  hand.  Jongkind 
has  so  far  trusted  to  the  intelligence  of  the  public  (or  of  the 
small  cultivated  public  to  which  he  addresses  himself),  as  to 
make  memoranda  of  impressions  directly  upon  copper,  and 
print  them.  This  is  the  whole  explanation  of  his  work  as 
an  etcher.  But  now  comes  the  person  living  outside  of  art, 
who,  when  he  sees  one  of  these  etchings,  feels  first  puzzled 
and  then  offended,  and  thinks  that  both  artist  and  laudatory 
critic  must  be  making  fun  of  him.  “ Could  not  any  child  of 
ten  years  old  do  as  well  ? ” The  true  answer  to  this  ques- 
tion (it  is  not  an  imaginary  question)  is,  that,  rude  as  this 
sketching  looks,  and  imperfect  in  many  respects  as  it  really 
is,  the  qualities  which  belong  to  it  are  never  attained  in  art 
without  the  combination  of  talent  approaching  to  genius, 
and  study  of  a very  observant  and  earnest  kind,  quite  beyond 
any  possible  experience  of  infancy.  The  right  way  to  esti- 
mate work  of  this  nature  is  to  look  upon  it  as  the  artist’s 


JONGKIND. 


129 


manner  of  noting  down  an  impression  in  all  its  freshness. 
Jongkind  succeeds  in  doing  this,  either  by  an  unconscious- 
ness which  is  itself  a great  gift,  or  else  by  an  effort  of  will 
strong  enough  to  set  himself  entirely  above  the  criticism  of 
ignorance.  There  is  something  approaching  to  sublimity  in 
the  courage  which  was  needed  to  send  plates  of  this  descrip- 
tion to  the  printer.  All  landscape-painters  have  made 
memoranda  of  this  class,  though  they  rarely  make  them 
quite  so  well,  but  Jongkind  is  the  first  who  has  had  the 
courage  to  publish  them.  It  seems  like  the  rashness  which 
tempts  Providence  to  set  these  things  before  the  French 
bourgeois , or  the  English  Philistine,  for  the  only  public  they 
are  fit  for  is  a public  of  true  amateurs  or  artists ; but  who- 
ever can  really  read  them  is  in  a fair  way  for  being  able  to 
read  all  painting  that  sets  itself  honestly  to  the  rendering  of 
the  mental  impression  in  its  unity.* 

Jongkind  is  invaluable  to  the  student  of  etching  as  an 
example  of  simple  line-work  pushed  to  its  utmost  extreme. 

* Although  the  most  ignorant  people  laugh  at  Jongkind  because  they  cannot 
see  the  difference  between  his  brevity  of  expression  and  the  meagreness  of  a child’s 
work,  it  so  happens  that  two  of  the  best  etchers  in  Europe,  in  writing  to  me  about 
other  matters,  incidentally  expressed  their  approval  of  Jongkind,  and  I find  in 
Charles  Baudelaire’s  L' Art  Romantique  a hearty  and  intelligent  appreciation  of  his 
work,  which  may  be  worth  quoting  here. 

“Chez  le  meme  editeur  (Cadart)  M.  Jongkind,  le  charmant  et  candide  peintre 
Holiandais,  a depose  quelques  planches  auxquelles  il  a confie  le  secret  de  ses  sou- 
venirs et  de  ses  reveries,  calmes  comme  les  berges  des  grands  fleuves  et  les  hori- 
zons de  sa  noble  patrie  — singulieres  abreviations  de  sa  peinture,  croquis  que 
sauront  lire  tous  les  amateurs  habitues  a dechiflrer  l’ame  d’un  artiste  dans  ses  plus 
rapides  gribouillagesR 

Whether  the  etchings  of  Jongkind  are  more  frequently  abbreviations  of  his 
painted  work  or  sketches  done  from  nature  or  recollection,  I cannot  quite 
certainly  inform  the  reader  ; but  in  any  case  the  word  “ abbreviation  ” is  rightly 
used  by  Baudelaire,  and  if  the  reader  thinks  of  these  etchings  as  an  excellent  kind 
of  shorthand  in  which  the  expression  is  abbreviated  to  the  utmost,  he  will  come 
very  near  to  a right  understanding  of  their  purpose,  though  it  is  not  possible  fully 
to  appreciate  their  singular  and  curious  merits  as  an  interpretation  of  nature  with- 
out studying  nature  itself.  They  are  full  of  keen  observation  of  natural  facts  and 
effects. 


K 


J0NGK1ND. 


rso 


He  gives  as  few  lines  as  possible,  never  dissimulating  them, 
and  never  attempting  any  shade  or  gradation  that  would 
require  much  craft  of  biting.  Such  biting  as  he  does  give 
is  quite  simple  and  decided,  about  three  bitings  to  each 
plate — a good  vigorous  black  (no  mistake  about  that),  a 
middle  tint,  and  a pale  tint  for  distance.  The  shading  is 
generally  open,  but  runs  very  close  for  contrast  in  some 
passages,  such  as  the  black  hull  of  a ship.  He  is  always 
careful  to  economise  labour  in  shading  for  fear  of  spoiling 
the  vivacity  of  his  plate,  which  it  is  so  very  easy  to  do. 
Thus  the  open  sky  with  him  is  blank  paper,  and  so  is  calm 
water,  only  waves  and  reflections  being  indicated  by  lines. 
He  sketches  clouds  in  frank  line,  broad  and  bitten  shallow. 
He  resorts  also  sometimes  to  a kind  of  blotting,  like  that  of 
the  ink  in  pen-sketching. 

The  town  of  Maasslins,  Holland. — A skating  scene  on  a 
canal  to  the  right,  elevated  above  the  level  of  a plain  to  the 
left,  and  divided  from  it  by  an  embankment.  There  is  a 
great  windmill  to  the  left,  and  the  town  with  its  churches  is 
in  the  distance.  Plate  dated  1862. 

Readers  who  have  studied  Topffer  will  remember  what 
he  says  about  the  difference  between  identity  and  resem- 
blance. If  an  artist  draws  a thing  quite  accurately,  he  gives, 
not  something  resembling  the  form,  but  the  actual  form 
itself  as  it  strikes  the  retina.  But  it  is  possible  to  give  a 
resemblance  of  the  form,  very  remote  from  identity,  and  yet 
much  more  interesting  to  the  spectators,  interesting  even 
from  the  very  contradiction  between  its  demonstrable  inac- 
curacy, and  its  curious  look  of  truth.  This  may  account  for 
the  strange  interest  of  the  skating  figures  in  this  composi- 
tion. Are  they  men  and  women  ? Certainly  not,  for  men 
and  women  so  constructed  could  never  walk — much  less 
could  they  skate.  They  are  mere  puppets,  no  more,  yet 
such  lively  puppets  that  they  give  us  the  notion  of  skating , 
far  better  than  more  elaborately  drawn  figures  would  do  if 


fONGKIND. 


*3A 

their  action  had  been  less  happily  conveyed,  whilst  from  the 
system  of  execution  used  being  exactly  the  same  as  that  for 
the  surrounding  landscape,  they  harmonise  with  it  perfectly. 
It  is  very  interesting  to  notice  with  how  little  labour  Jong- 
kind  suggests  a gradation.  One  is  suggested  (not  realised) 
in  the  water,  and  another  in  the  cloud  near  the  mill.  The 
spectator’s  imagination  immediately  supplies  what  is  want- 
ing. 

Entrance  to  the  Port  of  Honfleur. . (Dated  1863). — As 
there  are  no  clouds  in  this  sky,  the  artist  has  wisely  left  it 
perfectly  blank,  because  white  paper  (or  paper  with  the 
slight  tint  left  by  the  ink  when  the  plate  has  not  been 
cleared  with  whitening)  expresses  the  serenity  of  the  pure 
sky  with  a perfection  that  would  be  most  probably  lost  if 
any  attempt  were  made  to  shade  it,  whilst  the  gradation  in 
the  shading  would  probably  be  too  imperfect  to  satisfy  a 
delicate  taste.  We  are  made  at  once  to  feel  that  the  light 
comes  from  the  spectator’s  left  by  the  shadows  from  the  two 
masts  of  the  brig,  which  fall  towards  the  right.  The  water 
is  expressed  by  a few  widely-separated  wave-marks.  There 
is  a little  very  light  tinting  of  transparent  shade  upon  the 
pier  and  distant  houses.  The  steamer  close  to  the  pier 
(apparently  a mere  confusion  of  blotted  black  lines)  is  a very 
clever  representation  of  the  effect  of  a steamer  upon  the  eye 
at  that  distance.  There  are  two  cutter-rigged  boats  to  the 
left  in  the  middle  distance,  and  a rowing-boat  with  four  men 
in  it,  over  the  signature.  All  these  are  remarkable  for  great 
liveliness  and  motion,  and,  as  in  all  Jongkind’s  etchings,  when 
anything  is  moving  at  all  we  are  made  to  see  and  feel  that 
it  is  moving. 

View  of  the  Railway  Port  at  Honfleur.  (Dated  1866.) 
— A singularly  awkward  subject  to  choose,  with  disagreeable 
perspective  lines  of  .rail  and  quay  edge,  and  a perfectly  blank 
space  in  the  middle.  It  is  worth  study  only  for  its  perfect 
unity  and  truth  of  impression,  for  it  gives  you  exactly  the 


*32 


JONGKIND. 


feeling  of  being  at  one  of  those  uncomfortable  railway  ports 
where  you  are  generally  liable  to  be  run  over  by  a waggon, 
and  to  be  tripped  up  by  a rope  in  attempting  to  get  out  of 
its  way.  The  sky  is  cleverly  treated,  with  its  few  thin 
diagonal  clouds,  and  the  calm  water  to  the  left  is  expressed 
with  a few  wavy  lines  for  prolonged  reflection  from  boat  and 
vessels.  If  the  reader  has  the  plate,  by  all  means  let  him 
observe  the  very  summary  execution  of  the  little  cock-boat 
with  its  two  inhabitants. 

Sortie  du  port  de  Honjleur.  (i  864.) — To  my  feeling  this 
is  the  best  of  Jongkind’s  plates.  It  is  composed  of  water 
and  sky,  with  shipping  and  boats,  and  there  is  a lighthouse 
on  the  shore  in  the  distance  on  the  right  hand,  and  a large 
building  to  the  left.  The  sky  is  cloudy,  and  darkens  to  the 
right  with  powerful  open  shading,  so  energetic  that  it  seems 
as  if  done  with  sabre-strokes,  but  it  is  not  deeply  bitten. 
The  black  hull  and  masts  of  the  brig  in  the  foreground  to 
the  left  are  bitten  very  energetically,  and  are  a very  fine 
example  of  powerful  treatment  of  near  material.  The  water 
is  translated  by  open  lines  indicating  ripple,  or  a generally 
calm  surface  and  reflection,  both  being  expressed  with  great 
knowledge,  though  most  laconically.  There  is  some  parti- 
cularly clever  treatment  of  shallow  broad  lines  about  the 
steamer  to  the  right,  and  some  masterly  black  blotting  as  in 
a pen-sketch.  As  usual,  there  is  much  motion  in  the  boats 
that  move  under  sail  or  oar,  which  enhances  the  tranquil 
majesty  of  the  stationary  brig. 


CHAPTER  X, 


VAN  S’GRA  VESANDE. 

'^'HIS  etcher  was  not  included  in  the  first  edition  of  the 
present  work  because  his  etchings  have  been  published 
subsequently.  I think  that  he  has  a fair  right  to  the  dis- 
tinction of  a separate  chapter  for  the  following  reasons  : — 
There  are  few  etchers  in  any  age  who  are  at  the  same 
time  simple  in  their  methods  of  work,  and  original.  The 
proportion  of  such  etchers  at  the  present  day  is  small  indeed. 
There  have  never  been  so  many  etchers  at  one  time  as  there 
are  now,  yet  out  of  the  hundreds  who  practise  the  art  it  is 
difficult  to  find  more  than  a very  few  who  express  ideas  of 
their  own  directly  and  harmoniously.  It  is  sometimes 
believed  that  such  summary  expression  of  original  concep- 
tion is  very  easy,  and  almost  beneath  the  attention  of 
accomplished  artists,  who  are  able  to  carry  their  work  very 
far  forward  in  the  direction  of  what  is  popularly  considered 
to  be  “ finish ; ” but  the  truth  is,  as  any  one  who  likes  to  try 
it  will  soon  discover  for  himself,  that  the  power  of  etching 
simply  and  beautifully  at  the  same  time  is  very  rare.  It 
has  always  seemed  to  me,  and  it  seems  to  me  still,  that  this 
gift  is  the  gift  for  an  etcher,  and  it  is  so  because  it  saves  him 
a world  of  technical  trouble  in  the  regrounding  of  plates, 
rebiting,  rubbing  out  with  charcoal,  and  so  on,  all  which  toil 
of  a manual  kind  is  a loss  of  time  which  might  be  spent  in 
what  is  more  essentially  art. 


*34 


VAN  S'GEA  VESA  NEE . 


M.  de  Gravesande  * has  published  two  portfolios  of  etch- 
ings, the  first  consisting  of  thirteen  plates,  including  the* 
title,  the  second  of  ten  plates.  In  each  collection  there  are 
etchings  which  might  have  been  omitted  without  loss,  simple 
studies  from  nature,  without  sufficient  artistic  significance  to 
afford  a substantial  reason  for  publication.  It  is  necessary 
to  draw  the  line  somewhere,  and  I think  it  ought  to  be 
drawn  between  works  which  have  composition,  or  what  looks 
like  it;  that  is  some  relation  between  their  component  parts, 
and  those  in  which  there  is  no  such  relation.  Simple  studies 
of  objects  are  valuable  to  the  artist,  but  may  be  kept  for  his 
private  use.f 

Le  lac  d' Abconde.— Part  of  a lake  with  a flat  shore. 
Two  windmills  and  some  trees  in  the  distance,  pollard 
willow,  and  rushes  in  the  foreground,  to  the  right.  A sailing- 
boat  on  the  water,  and  also  a small  boat  in  which  a man  is 
sculling.  Long  clouds  slightly  sketched  in  the  sky,  and  a 
few  wild  ducks. 

The  most  noticeable  thing  here  is  the  treatment  of  the 
water,  which  is  full  of  real  knowledge,  expressed  with  the 
utmost  simplicity  of  method.  There  is  a broad  band  of 
ripple  in  the  distance,  then  a calmer  interval  which  reflects 

* Carel  Nicolaas  Storm  van  S’Gravesande  is  a Dutch  gentleman,  with  the  title 
of  Jonkeer,  and  a son  of  the  Vice-President  of  the  house  of  Representatives,  who 
is  also  a member  of  the  Council  of  State.  He  studied  for  the  bar,  and  took  the 
degree  of  Doctor  of  Law  at  the  University  of  Leyden,  but,  having  a strong  taste 
for  art,  quitted  legal  studies  for  the  career  of  a painter,  to  which  he  has  remained 
faithful  since,  for  the  occasional  pursuit  of  etching  can  scarcely  be  considered  an 
infidelity  to  the  Muse  of  Painting,  however  jealous  she  may  be.  As  the  subject  of 
this  notice  published  his  etchings  at  Brussels  he  translated  his  name  into  French 
for  the  convenience  of  the  southern  public,  and  called  himself  Charles  de  Gravesande. 

+ It  appears,  too,  as  if  in  his  second  publication  M.  de  Gravesande  had 
associated  together  plates  too  widely  different  from  each  other  in  size,  so  that  the 
smaller  ones  are  injured  by  too  much  margin,  a matter  well  worth  noticing,  .as  it 
happens  to  engage  our  attention.  It  is  a great  mistake  to  suppose  that  a margin 
cannot  be  too  large.  An  unreasonably  wide  space  of  margin  makes  an  etching  (or 
drawing)  look  insignificant  instead  of  enhancing  its  importance. 


VAN  S' GR A VESANDE. 


*35 


the  windmill,  or  rather  just  recognises  it.  The  boat  is  sailing 
on  another  space  of  ripple,  and  little  waves  come  washing  in 
amongst  the  rushes.  The  group  of  trees  in  the  distance  is 
treated  comprehensively  in  masses,  but  the  pollard  willows 
to  the  right  seem  coarsely  drawn  when  you  think  of  the 
delicate  beauty  of  a real  willow. 

An  bord  du  Gein  prh  Abconde . — This  is  one  of  the  most 
perfect  etchings  produced  by  the  modern  schools,  so  perfect, 
indeed,  that  if  I were  restricted  to  the  possession  of  six 
modern  etchings  this  should  be  one  of  them.  The  material 
is  nothing  but  a river  shore  with  a few  trees  and  bushes, 
and  a windmill.  The  sky  and  water  are  both  great  tranquil 
spaces  of  white  paper,  the  one  varied  by  four  or  five  very 
light  streaks  of  cloud,  and  a few  birds,  the  other  by  bits  of 
vegetation  rising  above  the  surface,  and  a ripple  here  and 
there.  It  is  not  at  all  an  exaggeration  to  say  that  the 
tender  and  delicate  beauty  of  the  shading  on  the  windmill 
and  distant  foliage,  and  of  the  corresponding  reflections  in 
the  water,  is  equal  in  the  quality  of  softness  to  the  softest 
work  in  a chalk  or  charcoal  drawing,  whilst  in  the  strong 
deeply-bitten  markings  on  the  nearer  shore  and  foreground 
there  are  a vigour  and  decision  which  belong  to  etching 
alone.  This  etching  is  indeed  a perfect  model  for  three 
great  qualities  whose  union  is  rare  indeed.  It  is  both  very 
tender  and  very  strong,  and  at  the  same  time  very  re- 
served in  the  best  and  wisest  way.  The  consequence  is 
the  harmony  of  a complete  impression,  in  which  nothing  is 
insufficient  and  nothing  excessive.  The  reserve  is  most 
visible  in  the  treatment  of  water  and  sky.  An  etcher  has  to 
choose,  for  open  sky,  between  the  tranquillity  of  blank  paper 
and  the  gradation  to  be  obtained  by  shading.  The  gain  by 
shading  is  doubtful,  because  the  gradation  is  likely  to  come 
wrong ; the  loss  in  any  case  is  certain,  because  no  shading 
can  ever  have  the  purity  and  repose  which  in  blank  paper 
come  so  near  to  the  quality  of  sky.  Therefore  in  an  etch- 


136 


VAN  S'GRA  VESANDE. 


ing  like  this,  the  blank  paper  is  far  from  being  meaningless ; 
it  means  the  spotless,  lineless  texture  of  sky  and  water 
which  in  nature  is  so  pure. 

L'  E scant  a Burght , prfo  Anvers. — A shore  with  a small 
jetty  and  landing-stage,  boats  in  the  foreground,  and  a 
steamer  and  sailing  vessels  in  the  distance.  This  plate  is 
beautifully  composed  (observe,  for  example,  the  utility  of 
the  two  oars),  and  the  distant  boats  are  skilfully  introduced. 
M.  de  Gravesande’s  boats  and  boatmen  are  always  full  of 
life,  even  when  the  man  is  a speck  on  shore  or  the  sail  a 
speck  on  the  horizon  ; and  his  study  of  water  deserves  praise 
for  thoroughness  and  temperance,  for  its  true  indication  ot 
the  perspective  of  rippling  surfaces,  and  that  delicate  noting 
of  reflections  which  marks  what  is  most  faintly  perceptible, 
and  rejects  all  arbitrary  theories  of  what  the  water  pheno- 
mena ought  to  be  for  a subtly  intelligent  observation  of 
what  they  are. 

Entree  de  foret. — The  entrance  of  a dense  pine-forest, 
no  sky  visible  nor  any  distance,  as  the  eye  can  only  pene- 
trate a few  yards  into  the  gloom  amongst  the  trunks  of  the 
pines.  In  the  foreground  is  a narrow  and  rough  road  going 
into  the  forest. 

This  plate  is  almost  entirely  etched  in  strong,  deeply- 
bitten  markings,  like  Turner’s  etched  work.  It  is  one  of  the 
most  impressive  sylvan  subjects  I ever  met  with,  and  at  once 
reminds  us  of  Dante.,  Not  only  are  the  deep  markings  well 
etched,  but  there  are  also  most  skilful  shadings  and  salissures 
of  the  copper  between  the  lines. 

Le  Retonr  de  la  Peche. — Women  coming  back  from  the 
fishing  on  the  sea-shore  under  a high  cliff.  They  are  just 
descending  a rude  wooden  stair  set  against  a strong  sea-wall, 
with  massive  beams  and  planks. 

This  large  plate  is  more  in  the  direction  of  tone  etching 
than  the  artist’s  earlier  works.  The  cliff  is  all  in  shade,  and 
so  are  the  figures.  The  wood-work  is  powerfully  etched 


VAN  S’GRA  VESANDE. 


137 


in  line.  The  scene  is  poetical  and  impressive,  but  not 
beautiful. 

Pecheurs  sur  la  cdte  de  Normandie. — Rocks  on  the  shore 
at  low  tide,  with  a few  women  seeking  shell-fish  amongst 
the  weeds.  Sea  calm,  without  boats.  A few  light  clouds 
in  the  sky. 

Remarkable  as  the  simple  and  poetical  rendering  of  a 
true  motive.  It  makes  you  feel  exactly  as  you  would  feel 
in  the  dreary  place  itself,  with  nothing  visible  out  to  seaward 
but  the  calm  water  and  calm  sky,  and  nothing  more  in- 
teresting or  beautiful  on  the  shore  than  rude  rocks  and  poor 
fisher-folk  gathering  a scanty  subsistence  before  the  tide 
rises.  The  panoramic  length  of  the  drawing  aids  the 
dreariness  of  the  impression,  for  we  see  that,  however  far 
we  look  to  right  or  left,  the  scene  is  still  the  same,  with 
no  hope  of  anything  less  melancholy  than  stones,  and  sand, 
and  salt-water. 


CHAPTER  XI. 


MODERN  GERMANS  AND  OTHERS. 

JT  was  not  the  original  design  of  this  book  to  mention  any 
artists  but  those  who  etched  their  own  compositions,  for 
when  an  etcher  interprets  a picture  he  ceases  to  act  as  a 
creative  artist,  and  becomes  merely  a translator.  The 
important  position,  however,  which  etching  has  assumed  of 
late  years  as  one  of  the  branches  of  engraving,  will  not  per- 
mit me  to  pass  in  silence  so  accomplished  an  executant  as 
Unger,  but  since  for  the  same  reason  it  has  become  neces- 
sary to  mention  several  other  etchers  from  pictures,  I have 
preferred  to  group  them  together  in  a chapter  towards  the 
end  of  the  volume,  in  which  their  special  branch  of  the  art 
is  studied  in  a more  connected  way  than  it  could  have  been 
if  the  materials  had  been  scattered  throughout  the  book.  It 
would  be  impossible,  in  such  a chapter,  to  omit  the  works  of 
William  Unger,  and  at  the  same  time  it  would  be  very  dif- 
ficult to  do  him  justice  when  occupied  with  original  etchers, 
because  an  entirely  peculiar  kind  of  criticism  has  to  be 
applied  to  an  etcher  who  interprets  painters.  There  is 
always,  in  such  a case,  a great  risk  of  confounding  the 
painter  and  etcher  together,  and  of  attributing  to  the  latter 
merits  which  are  not  his  own,  or  shortcomings  for  which  he 
ought  not  to  be  held  responsible.  A critic  will  therefore  do 
wisely  to  keep  the  two  classes  of  etchers  apart,  and  the 
same  reasons  may  make  the  separation  a convenience  to  the 
reader  also  by  removing  some  causes  of  perplexity. 

Amongst  original  modern  German  etchers,  the  best  of 


MODERN  GERMANS  AND  OTHERS. 


i39 


those  known  to  me  is  Gauermann.  His  etchings  of  animals 
are  often  delicately  accurate  in  detail,  and  in  such  a piece 
of  work  as  the  drawing  of  a goat’s  horn  he  will  often  prove 
a rather  surprising  skill.  It  would  nave  been  no  more  than 
justice  to  give  him  a separate  chapter,  or  at  least  to  study 
one  or  two  of  his  principal  plates,  and  some  readers  may 
think  it  strange  that  so  hasty  a sketcher  as  Jongkind  should 
be  so  honoured  when  Gauermann  is  passed  with  a simple 
mention.  Let  me  explain,  therefore,  that  in  my  view  of  the 
art,  which  will  probably  be  found  to  be  the  correct  one,  no 
accomplishment  in  the  representation  of  details,  however 
exquisitely  they  may  be  done,  can  atone  for  the  absence 
of  that  far  higher  kind  of  study  which  sees  things  in 
their  mutual  relations  as  parts  of  an  artistic  whole.  Accur- 
acy in  separate  detail  may  be  reached  with  painstaking,  by 
workmen  of  the  most  ordinary  intelligence.  Open  any 
French  book  of  science  or  travel,  illustrated  carefully  by 
the  best  wood,-  engravers  of  the  day,  and  you  will  find 
details  of  the  most  astonishing  minuteness,  often  almost 
rivalling  those  of  the  photograph  ; indeed  this  very  clever 
handicraft  has  teen  carried  to  such  a pitch  of  perfection  of 
late  years,  that  it  seems  impossible  for  it  to  be  carried 
farther.  Such  study  of  detail  in  scientific  or  mechanical 
illustration  is  precious  for  its  utility,  but  in  the  fine  arts 
detail  is  never  precious  unless  in  absolute  subordination  to 
some  artistic  scheme  which  embraces  the  whole  work,  and 
even  then  the  detail  is  worth  having  only  just  so  far  as  it 
helps  the  greater  unity  in  its  effect  upon  the  mind.  The 
study  of  detail  for  itself  is  positively  injurious  to  compre- 
hensiveness of  sight.  Examine  a leaf  on  a tree,  and  whilst 
your  attention  is  occupied  with  the  individual  leaf,  you  will 
not  see  the  branch  as  a whole,  still  less  will  you  see  it  in  its 
true  relation  to  the  background  of  hill  or  sky.  The  most 
idle  of  all  idle  occupations  is  to  spend  time  in  “finishing” 
things  which  will  never  take  their  proper  place  in  the  com- 


140 


MODERN  GERMANS  AND  OTHERS. 


position.  Until  everything  is  in  its  right  place  it  is  no  use 
thinking  about  finish,  and  when  the  parts  are  in  right  rela- 
tions to  each  other,  very  little  finish  will  be  needed.  The 
enormous  Kunstverein  (German  Art  Union)  etchings  are 
amongst  the  most  curious  examples  of  wasted  labour  in  the 
world.  The  hastiest  scrawl  of  any  artist  who  can  truly  see 
half-a-dozen  things  at  once  is  worth  a lifetime  of  such  mis- 
taken industry.  Mere  skill  with  the  fingers  and  patience  in 
labour,  without  selection,  without  comprehensiveness,  with- 
out emphasis,  without  passion,  are  offensive  in  proportion  to 
their  very  success.  The  more  a dull  etcher  practises  the 
art,  and  the  more  assiduously  he  trains  himself  in  the  sort  of 
base  dexterity  which  dulness  devises,  the  more  hopeless  does 
his  work  become. 

The  full  severity  of  these  remarks  is  deserved  by  the 
work  of  the  true  German  Philistines,  but  there  are  some 
Germans  whom  it  would  be  unjust  to  write  against  quite  so 
energetically.  Gauermann,  above  mentioned,  is  not  dull, 
but  only  rather  too  observant  of  truth  in  detail  to  see  truth 
in  mass.  The  landscapes  of  Zimmermann  and  Wurthle  are 
not  without  some  comprehensive  energy,  but  still  not  suffi- 
ciently free  and  intuitive  for  great  etching,  and  Morgenstern 
(who  punningly  signs  himself  Morgen*)  is  somewhat  bolder 
than  Zimmermann,  but  deficient  in  lightness  and  grace. 
Eberle  finishes  cleverly  in  a pretty  modern  way,  and  Brenn- 
hauser  is  skilful  to  a degree  which  only  makes  one  regret 
the  misapplication  of  his  abilities. 

It  has  happened,  since  the  first  edition  of  this  book  ap- 
peared, that  many  etchers  in  different  countries  have  sent 
proofs  of  their  plates  to  me.  In  this  way  I have  enjoyed 
opportunities  for  becoming  better  acquainted  with  the  state 
of  the  art  in  different  parts  of  the  world.  The  tradition  of 
the  old  Dutch  etching  lingered  into  our  own  century  in  the 
person  of  an  etcher  named  Trooftwyk,  who  died  young,  and 
left  a little  series  of  plates  behind  him,  which  were  founded 


MODERN  GERMANS  AND  OTHERS. 


141 


on  the  practice  of  Potter  and  his  school,  not,  I believe,  as  a 
conscious  revival  of  a past  state  of  art,  but  simply  and  sin- 
cerely as  a tradition.  This  etcher,  though  so  near  our  own 
time,  seemed  wholly  untouched  by  modernism  in  his  com- 
positions, but  in  isolated  subjects  he  once  or  twice  rivalled 
the  beautiful  detail  of  Gauermann,  and  showed  a modern 
temper  and  sympathy  with  animal  life,  especially  in  his 
affectionate  studies  of  dogs.  All  his  cattle,  on  the  other 
hand,  are  seen  through  the  medium  of  the  traditional  Dutch 
etching  of  another  time,  and  have  the  spirit  of  it  so  com-  . 
pletely  that  one  might  easily  suppose  them  to  be  the  very 
cattle  which  browsed  and  sunned  themselves  in  the  Holland 
of  two  hundred  years  ago. 

Contemporary  Italian  etching  appears  to  owe  what 
activity  it  possesses  to  French  influence  chiefly.  The  Duke 
of  Sartirana  has  etched  one  or  two  plates  which  may  be 
mentioned  honourably,  especially  one  which  appeared  in  the 
publication  of  the  French  club  for  1869,  entitled  “ En  Italie . 
La  Peeke  aux  Grenouilles?  This  was  quite  artist’s  work, 
although  the  author  was  an  amateur.  Other  plates  by  the 
same  etcher  prove  a careful  study  of  tone  in  masses,  not 
always  sufficiently  sustained  by  adequately  rendered  form. 

In  this  instance  etching  is  a family  tradition,  as  the  father  of 
the  present  Duke  of  Sartirana  practised  the  art  assiduously. 
Amongst  modern  Italian  painters  who  seem  to  have  the 
genuine  etcher’s  gift,  I may  mention  Bianchi  of  Milan,  but 
he  has  produced  very  little,  not  choosing  frequently  to  lay 
aside  the  brush  for  the  etching-needle.  Alberto  Maso  Gilli 
is  an  excessively  skilful  realist,  who  represents  the  comedy 
of  bourgeois  existence  with  undeniable  force,  both  of  expres- 
sion and  execution,  but  it  is  a kind  of  talent  which,  though 
startling  for  the  vivid  reality  of  its  effects,  is  essentially 
vulgar  in  more  respects  than  one.  The  very  brilliance  of 
the  trompe  Cosily  so  successfully  aimed  at,  is  vulgar  in  itself. 
Every  imaginable  artifice  is  resorted  to  in  order  to  obtain  a 


142 


MODERN  GERMANS  AND  OTHERS. 


deceptive  relief.  Figures  are  set  in  strong  lamp-light  against 
black  backgrounds  till  they  stand  out  like  models,  and  they 
are  shaded  with  a completeness  that  leaves  nothing  to  the 
imagination.  There  can  be  no  question,  however,  as  to  the 
manual  and  technical  power  with  which  the  purpose  is  ac- 
complished ; sometimes,  indeed,  the  technical  power  is  so 
striking,  that  a more  refined  artist  might  well  envy  the  pos- 
session of  it.  In  “ Un  Rimprovero  ” a wife  is  taking  a 
malicious  pleasure  in  letting  her  husband  know  that  she  is 
% aware  of  some  infidelity  ; the  woman’s  face  is  for  the  most 
part  in  strong  shadow,  and  it  would  be  difficult  to  find  in 
the  greatest  works  of  the  greatest  masters  a more  thorough 
piece  of  work  than  the  shading  of  that  face,  in  which  every 
gradation  is  attended  to,  and  every  reflection,  even  to  the 
faintest.  The  different  expressions  of  the  two  faces  are  as 
life-like  as  they  possibly  can  be,  but  all  this  technical  and 
other  ability  is  employed  to  tickle  the  tastes  of  a very  low 
section  of  the  vulgar  continental  public. 

Etching  is  now  practised  in  every  country  sufficiently 
advanced  in  civilisation  for  any  thorough  culture  of  the  fine 
arts.  Paris  is  the  metropolis  of  etching,  but  of  what  is  done 
there  this  is  not  the  place  to  speak.  There  is  a good  deal 
of  etching  activity  in  places  often  too  scattered  for  good 
results.  The  position  of  an  etcher,  for  example,  in  some 
remote  locality  in  America  or  Australia,  is  not  favourable 
to  rapid  progress,  because  he  may  be  stopped  by  technical 
difficulties  in  what  French  artists  call  la  cuisine  de  T eau forte, 
or  he  may  not  direct  his  studies  from  nature  towards  the 
kind  of  skill  and  knowledge  which  is  specially  most  useful 
to  an  aquafortist.  An  isolated  etcher,  however,  is  better  off 
than  an  isolated  painter,  because  he  can  easily  get  examples 
of  good  work  which  may  be  purchased  cheaply  when  rarity 
is  not  an  object,  whereas  good  pictures  are  always  costly 
things,  and  the  isolated  painter  sees  little  but  his  own  can- 
vases. Very  curious  instances  of  the  effects  of  isolation 


MODERN  GERMANS  AND  OTHERS. 


*43 


reach  me  from  out-of-the-way  places  in  different  parts  of 
the  world.  For  example,  an  American  sent  me  a series  of 
large  etchings  of  lake  scenery  in  his  own  country,  in  which 
all  the  trees  were  well  drawn,  some  of  them  even  remarkably 
well  drawn,  with  a strong  sense  of  sylvan  beauty,  and  much 
evidence  of  observant  study ; yet,  at  the  same  time,  all  the 
other  components  of  lake  scenery,  mountains,  water,  rocks, 
and  foreground  vegetation,  were  done  with  exactly  the 
degree  of  knowledge  which  is  common  in  the  works  of 
school-girls.  Now,  if  this  etcher  had  not  been  so  much 
isolated,  some  artist-friend  would  have  told  him  to  direct  his 
studies  more  equally.  Other  solitary  students  get  into 
difficulties  with  their  chemicals,  not  being  able  to  deal  pro- 
perly with  acid  and  copper.  They  complain,  too,  of  their 
distance  from  a competent  printer  who  would  test  their 
plates  in  various  ways.  Then  they  let  themselves  be  influ- 
enced by  friends  who  know  nothing  about  the  art,  or  about 
any  art,  and  so  toil  after  false  finish.  The  consequence  is 
that  there  is  very  little  good  etching  done  anywhere  in  the 
world  by  students  who  are  not  in  communication  with  Paris 
and  the  leading  etchers  there. 


ETCHING  AND  ETCHERS. 

BOOK  III. 

THE  FRENCH  SCHOOL. 


L 


CHAPTER  I. 


THE  REVIVAL  OF  ETCHING  IN  FRANCE . 

pOR  the  last  fifteen  years  the  practice  of  etching  has 
gradually  become  a more  and  more  important  branch 
of  artistic  work  in  France,  and  now  the  French  school  is  not 
only  the  most  active  in  Europe,  but  it  is  so  influential  that 
all  other  schools  are  directly  affected  by  it.  At  first  the 
art  was  revived  by  a few  isolated  artists,  including  some  of 
the  most  distinguished  painters,  who  etched  a few  plates  for 
their  own  satisfaction.  In  this  way  Eugene  Delacroix 
etched  a little,  so  did  Meissonier,  Daubigny  etched  more, 
Charles  Jacque  gave  still  more  attention  to  the  art,  and  at 
last  a great  number  of  painters  pursued  etching  sufficiently 
to  attain  a certain  degree  of  skill.  Then  came  Meryon,  who 
did  not  succeed  as  a painter,  but  gave  himself  entirely 
to  etching,  and  so  expressed  a rare  and  original  genius. 
Lalanne,  too,  a very  clever  artist  in  black-and-white,  who 
worked  but  little  in  colour,  found  etching  much  to  his 
taste,  and  produced  many  plates.  Martial,  a very  accurate 
draughtsman  of  streets  and  buildings,  became  a most  pro- 
ductive etcher,  and  issued  hundreds  of  careful  studies  on 
copper,  which  proved  his  mastery  of  the  process.  Jules 
Jacquemart,  who  had  worked  before  in  water-colour,  took 
to  etching  with  the  rest,  and  astonished  every  one  by  an 
unexampled  truth  and  delicacy  in  the  rendering  of  still  life, 
so  that  his  works  were  at  once  appreciated  by  all  who  valued 
beautiful  representations  of  beautiful  things.  In  this  way 
the  impulse  was  given,  and  the  art  was  alive  again.  Then 


148  THE  REVIVAL  OF  ETCHING  IN  FRANCE. 


a young  and  energetic  publisher,  M.  Alfred  Cadart,  deter- 
mined to  devote  himself  to  the  publication  of  etchings,  and 
gathered  round  him  the  scattered  artists  and  amateurs  who 
had  revived  the  art.  He  founded  a club,  called  the  “ Societe 
des  Aquafortistes,”  which  published  some  fine  things,  and  a 
good  many  plates  that  tried  to  be  fine  but  were  not ; yet, 
however  defective  may  have  been  many  of  these  attempts, 
they  were  singularly  free  from  the  bourgeois  or  Philistine 
spirit,  and  addressed  themselves  to  the  appreciation  or  to  the 
indulgence  of  the  genuine  critic  or  artist,  rarely  to  the  tastes 
of  the  vulgar.  The  Societe  issued  a monthly  publication  of 
five  plates,  which  gave  place  later  to  a smaller  periodical 
issue,  called  V Illustration  Nouvelle , in  which  a more  equally 
good  quality  was  aimed  at,  and  in  some  measure  attained. 
Finally,  in  1874,  M.  Cadart  began  to  issue  an  annual  port- 
folio of  much  higher  average  quality  than  either  of  the 
two  monthly  publications.  During  the  twelve  years  which 
elapsed  from  1862,  he  had  also  published  a great  number 
of  independent  collections  of  etchings  by  various  artists, 
many  of  which  deserved  the  serious  attention  of  the  public. 

Although  M.  Cadart  was  the  only  French  publisher, 
and,  indeed,  the  only  publisher  in  the  world,  who  has  made 
etching  his  specialty,  several  others  in  Paris  have  included 
it  amongst  other  kinds  of  engraving  which  they  brought 
before  the  public.  The  most  noteworthy  instance  of  this 
is  its  employment  by  M.  Hachette  for  his  unprecedented 
edition  of  the  four  Gospels,  illustrated  by  Bida  with  128 
pictorial  compositions,  which  were  all  etched  by  Bida  him- 
self and  fiiteen  other  etchers.  The  enormous  sum  of  money 
lavished  on  the  production  of  this  work  would  never  have 
been  risked  twenty  years  ago  on  an  enterprise  which  de- 
pended upon  etching  for  its  success.  At  that  time  a 
publisher  determined  to  invest  fifty  thousand  pounds  in  a 
monumental  enterprise  would  have  selected  line-engraving 
as  a matter  of  course,  and  the  intensity  of  the  general 


THE  RE  VIVAL  OF  ETCHING  IN  FRANCE.  i49 


prejudice  against  etching,  both  in  the  trade  and  out  of  it, 
would  have  prevented  him  from  even  taking  it  into  con- 
sideration as  an  admissible  kind  of  art.  Times  are  changed, 
however. 

The  fame  and  splendour  of  this  great  publication,  of 
which  a hundred  and  forty  proof  copies  on  Dutch  paper 
were  sold  at  £80  apiece,  whilst  £ 20  was  the  price  of  an 
ordinary  one,  ought  not  entirely  to  eclipse  many  minor 
publications  which  have  been  illustrated  with  a few  plates. 

Several  other  publishing  houses  have  employed  etching 
as  a means  of  book-illustration  for  works  of  the  highest 
class  in  Editions  de  bibliophile.  Messrs.  Marne,  of  Tours,  for 
example,  have  used  it  for  their  magnificent  editions  of  La 
Fontaine,  Pascal,  Bossuet,  Boileau,  Fenelon,  Madame  de 
Sevigne,  and  La  Bruyere,  all  which  are  illustrated  in  etching 
by  Foulquier.  The  tasteful  printer  and  publisher,  Jouaust, 
whose  charming  editions  of  old  books  are  so  well  known 
to  collectors,  has  brought  out  the  tales  of  the  Queen  of 
Navarre  and  the  Decameron  of  Boccaccio  with  etchings 
by  Flameng,  all  inventions  of  his  own,  which  entitle  him  to 
honourable  mention  as  an  original  etcher,  independently  of 
his  rank  as  an  engraver.  In  this  way  the  public  is  becoming 
familiarised  with  etching,  which  no  longer  appears  strange 
and  unfashionable.  This  result  is  also  due  to  the  steadily- 
maintained  influence  of  two  periodicals,  V Artiste  and  the 
Gazette  des  Beaux  A rts , both  of  which  have  for  many  years 
employed  etching  as  their  principal  means  of  illustration. 
Daubigny  contributed  plates  to  L' Artiste  in  1840,  1842, 
and  subsequent  years,  and  the  same  periodical  gave  en- 
couragement to  other  artists  at  a time  when  the  demand 
for  etchings  was  so  slight  that  they  had  little  chance  of 
reaching  the  public  without  the  regular  circulation  of  a 
magazine.  This  magazine  was  founded  in  the  year  1831, 
and,  though  not  remarkable  for  much  refinement  of  taste, 
has  rendered  an  appreciable  service  to  the  fine  arts  by 


150  THE  REVIVAL  OF  ETCHING  IN  FRANCE. 


disseminating  lithographs  and  engravings  of  various  kinds, 
many  of  which  have  been  of  a high  character.  It  has  never 
been  exclusive  with  regard  to  the  kind  of  engraving  em- 
ployed, and  it  willingly  admitted  etchings  of  the  most 
artistic  kind  (such  as  those  of  Charles  Jacque  and  Dau- 
bigny) at  a time  when  they  were  by  no  means  generally 
popular.  The  editors  appear  to  have  consulted  very  differ- 
ent tastes,  for  some  of  the  lithographs  which  they  inserted 
could  with  difficulty  have  been  tolerated  by  any  one  capable 
of  appreciating  the  etchings,  and  they  even  gratified  lady- 
subscribers  with  coloured  plates  of  the  fashions.  What  is 
truly  painful,  however,  is  not  so  much  to  see  common  art 
admitted  into  a periodical  as  to  see  great  art  systematically 
excluded  because  it  is  not  likely  to  please  the  multitude, 
and  the  credit  which  V Artiste  deserves  is  for  not  having 
excluded  work  of  a high  kind,  which  always  appeals  to 
a limited  and  cultivated  public  of  its  own.  Along  with 
much  that  was  coarse  or  meretricious  in  taste,  this  periodical 
has  issued  some  of  the  very  best  work,  both  in  lithography 
and  etching,  which  has  ever  been  produced  in  Europe ; and 
if  the  revival  of  etching  is  traced  to  its  sources  it  will  be 
evident  that  one  of  those  sources  is  the  manner  in  which 
L'  Artiste  was  edited,  and  the  liberality  with  which  it  pro- 
vided for  the  tastes  of  a minority.  It  not  only  encouraged 
Daubigny  and  Charles  Jacque  at  the  commencement  of 
their  careers,  but  it  has  since  then  encouraged  other  genuine 
artists,  such  as  Flameng,  Veyrassat,  Bracquemond,  Soumy, 
and  Oueyroy.  The  foundation  of  the  Gazette , which 
occurred  much  later  (in  185  7),  was  also  a fortunate  occur- 
rence for  the  development  of  etching.  This  periodical  has 
been  favourable  to  etching,  not  only  directly  by  the  publica- 
tion of  etched  plates,  but  also  indirectly,  by  keeping  itself, 
with  admirable  consistency,  far  above  all  condescension  to 
the  bourgeois  or  Philistine  spirit,  both  in  its  criticisms  and 
its  illustrations,  most  especially  perhaps  in  the  courageous 


THE  REVIVAL  OF  ETCHING  IN  FRANCE.  151 


practice  of  printing  the  honest  rough  sketches  of  artists  just 
as  they  made  them.  There  are  hundreds  of  things  in  the 
volumes  of  the  Gazette  which  it  is  utterly  impossible  that 
any  Philistine  should  understand,  and  which  must  seem  to 
the  bourgeois  mind  as  ugly  as  they  are  incomprehensible ; * 
so,  as  the  periodical  addressed  itself  to  the  educated  public 
only,  it  could  employ  etching,  and  has  done  so  with  good 
results.  The  effect  of  an  encouragement  given  to  a particu- 
lar branch  of  art  is  often  felt  afterwards  in  unexpected 
directions.  Trained  by  working  for  the  Gazette , a group  of 
etchers  found  themselves  able  to  undertake  work  of  a like 
quality  beyond  the  limits  of  the  periodical,  and  this  led  to 
the  habit  of  etching  galleries  of  pictures,  or  selections  from 
them,  a practice  the  limits  of  which  it  is  impossible  to 
foresee. 

The  influence  of  one  man  is  sometimes  of  the  very  great- 
est importance  even  in  those  movements  which  appear  to 
be  the  result  of  a tendency  generally  prevalent.  Thus,  in 
the  revival  of  etching,  the  engraver  Leopold  Flameng  has 
given  a strong  impulse  to  one  branch  of  the  art,  that  which 
concerns  itself  with  the  interpretation  of  painting.  He  was 
born  at  Brussels,  of  French  parents,  in  1831.  At  the  age 
of  sixteen  he  was  a sufficiently  good  engraver  to  contribute 
plates  of  his  own  to  a publication  on  the  galleries  of 
Florence.  As  his  knowledge  of  art  increased,  so  did  his 
feelings  of  rebellion  against  the  kind  of  engraving  which  at 
that  time  was  considered  the  only  legitimate  kind.  He 
could  not  endure  the  pursuit  of  mechanical  regularity  as  an 
aim  in  itself,  and  soon  perceived  that  the  greatest  artists  of 
the  past  had  been  superior  to  such  an  idle  pre-occupation. 

* Such  pen-sketches,  for  example,  as  the  Martyre  de  St.  Latirent , from  a picture 
by  M.  Lehoux,  drawn  by  the  author  (published  June  1874),  and  the  Lever  de  Lune 
it  Ermenonvilley  from  a picture  by  M.  Moullion,  drawn  by  the  author  (published 
August  1874).  The  boldness  with  which  the  Gazette  publishes  things  of  this  kind, 
which  are  perfectly  intelligible  to  artists,  but  sure  to  irritate  the  ignorant,  proves 
that  the  periodical  in  question  relies  upon  a very  highly  cultivated  public. 


152  THE  REVIVAL  OF  ETCHING  IN  FRANCE. 


“ Nanteuil,  Edelinck,  Drevet,”  says  Flameng  in  a letter  to 
me,  “ n’etaient  pas  esclaves  de  la  taille  militaire  (ainsi 
nominee  par  M.  Charles  Blanc)  des  travaux  bien  alignes  et 
des  Higants  treillages  (expression  d’ Ingres)  ils  ne  recherch- 
aient  que  la  perfection  du  dessin,  la  grace  et  la  souplesse  dans 
l’execution.”  Flameng  perceived,  too,  that  in  the  work  of 
the  great  time  there  had  been  a certain  rapidity  in  produc- 
tion. A picture  of  importance  was  finished,  and  followed 
very  shortly  by  an  engraving  from  it.  “ Edelinck  ne  met- 
tait  qu’un  mois  a graver  un  portrait  admirable  ! ” Flameng 
felt  much  discouraged  by  the  condition  of  public  taste  in  his 
own  time.  Great  engraving  seemed  to  be  killed  outright — 
killed  by  Wille  and  Bervic,  who  gratified  the  public  taste  for 
mechanical  regularity  by  an  extreme  purity  of  incision  and 
an  excessive  manual  skill,  which  it  became  their  chief  pur- 
pose to  display.  “ These  men,”  says  Flatheng,  “were  not 
artists,  but  ingenious  artisans.  To  the  misfortune  of  modern 
art  they  transmitted  their  skill  and  their  artistic  ignorance, 
and  even  at  the  present  day  they  condemn  their  successors, 
who  follow  the  same  path,  to  spend  long  years  upon  plates 
which  dazzle  the  eyes  with  a superficial  brilliance  beneath 
which  is  nothing.  It  is  like  the  silk  dress  on  a lay  figure.” 
In  Flameng’s  opinion  the  commercial  death  of  line- 
engraving  was  not  due  to  photography,  as  has  been  sup- 
posed, but  to  the  excessive  striving  after  mechanical  perfec- 
tion, which  involved  such  a terrible  sacrifice  of  time.  Pub- 
lishers abandoned  it  because,  after  investing  great  sums  of 
money,  they  had  to  wait  many  years  before  the  plate  could 
be  ready  for  publication,  so  that  the  general  interest  in  the 
subject  of  it  had  often  already  evaporated.  Flameng  per- 
ceived that  etching  had  not  this  inconvenience  of  slowness, 
that  an  etched  plate  might  be  produced  in  a reasonable 
time,  and  that  the  great  etchers  had  not  troubled  themselves 
about  that  mechanical  regularity  which  is  the  bane  of  art. 
He  therefore  resolved  to  study  etching  especially,  and  see 


THE  REVIVAL  OF  ETCHING  IN  FRANCE.  153 


what  could  be  made  of  it.  At  that  time  he  came  to  Paris, 
where  he  worked  at  first  obscurely,  but  after  a while  was 
noticed  by  the  justly  eminent  critic,  M.  Charles  Blanc,  who 
was  then  engaged  in  founding  the  Gazette  des  Beaux  Arts. 
M.  Charles  Blanc  at  once  perceived  that  Flameng  was  a true 
irtist-engraver,  and  that  he  would  work  in  the  genuine 
irtistic  temper.  He  was  therefore  engaged  as  a con- 
tributor, and  has  remained  one  down  to  the  present  day. 
His  work  for  the  Gazette  was  in  itself  a training  in  the  very 
kind  of  artistic  engraving  which  he  desired  to  do,  because, 
from  the  admirable  intelligence  with  which  that  f^riodical 
was  conducted  from  the  first,  every  contributor  was  encou- 
raged to  think  and  feel  as  an  artist. 

Let  me  now  briefly  allude  to  another  point  in  the  history 
of  French  etching  which  cannot  be  altogether  omitted : 
the  position  of  the  art  in  the  public  exhibitions.  When 
Flameng  began  to  exhibit  there  was  no  chance  for  an  etcher 
to  be  honoured  with  any  recompense  whatever.  The  exhi- 
bitions at  that  time  were  entirely  under  the  control  of  the 
Institute,  a body  not  likely  to  welcome  very  warmly  the 
artistic  endeavours  of  men  who  deviated  from  what  was 
then  the  established  routine.  This  state  of  things  was  put 
an  end  to  by  the  Count  de  Nieuwerkerke,  Surinteudant  des 
Beaux  Arts  under  the  Second  Empire.  When,  as  a conse- 
quence of  his  reforms,  the  jury  was  formed,  independently 
of  the  Institute,  by  universal  suffrage  amongst  exhibitors,  it 
was  more  impartial,  and  soon  recognised  etching  as  an  im- 
portant branch  of  engraving.  Flameng  received  medals  in 
1864,  1866,  and  1867.  In  1870  he  received  the  Cross  of 
the  Legion  of  Honour. 

M.  Charles  Blanc,  a critic  not  at  all  given  to  excesses  in 
the  use  of  epithets,  and  far  too  accomplished  a writer  to 
forget,  even  for  an  instant,  the  necessity  for  distinguishing 
between  shades  of  expression,  calls  Flameng  “illustrious” — 
Tillustre  graveur — an  adjective  always  reserved,  in  French 


*54  THE  REVIVAL  OF  ETCHING  IN  FRANCE. 


criticism,  for  the  one  or  two  men  in  a generation  whom  pos- 
terity is  likely  to  remember.  The  epithet  is  not  misplaced 
in  this  instance.  Flameng  is  really  one  of  those  illustrious 
men  whose  labours  make  epochs  in  the  history  of  the  fine 
arts.  He  is  a thoroughly  great  engraver,  an  artist-engraver 
of  the  highest  rank.  Even  if  isolated,  he  would  have  had  a 
place  in  the  history  of  art ; much  more  then  is  he  secure  of 
such  a place  through  the  tradition  already  established  by  his 
pupils,  such  as  Laguillermie,  Massaloff,  and  others.  Though 
but  just  in  the  noon  of  life,  Flameng  is  already  chef  d'fcole, 
and  chief  of  a school  such  as  has  not  been  seen  since  the 
days  of  Rembrandt ; a school  which  interprets  painting  with 
a sympathy,  freedom,  and  power,  which  are  not  to  be  found 
in  the  same  degree  in  any  other  class  of  engravers.  M.  Ldon 
Gaucherel  has  a place  too  in  the  history  of  art,  for  the  same 
reason.  “ My  best  works,”  he  says  with  a beautiful  modesty, 
“are  my  pupils.”  Amongst  them  may  be  counted  such 
artists  as  Rajon,  Le  Rat,  Courtry,  Duclos,  Lalauze. 

The  one  thing  which  strikes  us  in  this  French  revival  of 
etching  is  the  sustained  and  extended  energy  of  the  move- 
ment. Although  some  English  newspaper-writers,  even  in 
considerable  journals,  are  only  just  now  beginning  to  be 
really  aware  that  there  is  such  an  art  as  etching,  and  are 
wondering  and  laughing  at  it  as  a strange  half-intelligible 
new  thing,  like  South  Sea  islanders  when  some  puzzling 
astronomical  apparatus  is  landed  upon  their  shores/*  the 
plain  truth  is  that  the  French  revival  was  begun  more  than 
twenty  years  ago,  and  has  been  gathering  strength  ever 
since.  And  in  saying  this  I am  much  within  the  truth ; for 
if  you  take  as  examples  the  careers  of  two  living  veterans, 
Charles  Jacque  and  Daubigny,  you  will  discover  that  their 
earliest  plates  were  produced  before  1840.  The  very  first 
plate  by  Jacque  is  dated  ten  years  earlier,  but  that  is  a copy 

* See  a quotation  from  the  Times  newspaper  in  the  chapter  on  the  Revival  of 
Etching  in  England. 


THE  REVIVAL  OF  ETCHING  IN  FRANCE.  155 


after  Rembrandt,  a worthy  beginning.  Observe  too  that 
since  1840  Jacque  has  steadily  continued,  and  that  in  1866 
his  oeuvre  amounted  already  to  420  plates.  Daubigny 
began  to  etch  in  1838,  and  in  1841  he  exhibited  several 
etchings  at  the  Salon.  Meryon  was  at  work  on  his  series 
of  Parisian  subjects  in  1850.  Flameng  exhibited  in  1855. 
These  dates  are  quite  sufficient  to  show  that  the  movement 
is  not  of  yesterday,  though  the  general  public  is  only  just 
now  beginning  to  be  aware  of  it.  » 

The  great  increase  in  the  number  of  etchers  dates  from 
i860  or  thereabouts.  It  would  be  better  for  any  fine  art 
that  its  practitioners  should  be  few  and  able,  if  that  were 
possible,  rather  than  numerous  and  for  the  most  part  unskil- 
ful. What  really  happens,  however,  in  the  history  of  the 
fine  arts  is  this  : — There  are  many  mediocrities  in  a genera- 
tion, and  a few  men  of  true  genius,  so  that  it  almost  seems 
as  if,  in  the  arrangements  of  nature,  the  crowd  were  necessary 
in  order  that  the  men  of  genius  might  be  produced.  There 
is  a general  state  of  sentiment  amongst  those  who  concern 
themselves  about  art,  which  urges  them  in  some  especial 
direction  at  a particular  time ; and  the  men  of  genius  either 
lead  the  crowd,  drawing  it  after  them,  or  else  go  with  the 
crowd  at  first,  and  afterwards  rise  out  of  the  midst  of  it, 
lifting  themselves,  as  it  were,  upon  its  shoulders.  Charles 
Jacque,  Daubigny,  and  Flameng,  were  leaders,  pioneers; 
Rajon,  Le  Rat,  Laguillermie,  followed  a movement  already 
begun,  but  rose  higher  than  most  of  those  who  followed  it. 

Few  movements  in  art  have  been,  on  the  whole,  so 
decidedly  successful  as  this  revival  of  etching  in  France.  It 
will  occupy  a very  important  place  in  the  artistic  history  of 
the  nineteenth  century.  The  chiefs  of  the  revival  have  not 
only  made  etching  quite  truly  a living  art  again,  but  they 
have  pursued  a course  of  study  so  wisely  chosen  that  it  has 
led  them  to  an  absolute  executive  equality  with  the  very 
greatest  etchers  of  the  past  The  art  is  not  merely  alive 


156  THE  REVIVAL  OF  ETCHING  IN  FRANCE. 


again,  but  it  is  alive  in  perfect  strength.  Never,  indeed,  in 
the  history  of  the  fine  arts  have  so  many  thoroughly  accom- 
plished etchers  been  gathered  together  within  the  walls  of  a 
single  city  as  there  are  at  this  hour  in  Paris.  We  do  not  live 
in  some  short  after-glow,  some  partial  return  of  splendour 
passed  away,  but  in  the  full  bright  light  of  the  morning.'55' 

* Since  this  chapter  was  written,  a new  art  periodical  has  been  started  in  Paris 
on  a scale  more  important  than  either  of  its  predecessors.  The  name  of  this  new 
magazine  is  V Art;  it  is  published  weekly,  and  each  number  contains,  in  addition  to 
other  illustrations,  one  etching  regularly,  with  the  occasional  addition  of  another.  The 
principal  living  etchers  are  on  the  list  of  contributors,  and  their  chief  business  is  the 
reproduction  of  pictures.  The  advantage  of  L? Art  over  other  periodicals  is  the  great 
size  of  its  pages,  which  are  in  quarto  grand  colombier,  a size  measuring  seventeen  inches 
by  twelve.  The  first  number  contained  a remarkably  clever  plate,  by  Rajon,  from  a 
picture  by  Pieter  de  Hooge  in  the  National  Gallery  (the  Courtyard  of  a Dutch  House), 
but  it  is  quite  impossible  for  any  periodical  to  keep  up  to  that  level  regularly  ; there  are 
not  enough  first-rate  etchers  in  the  world  to  do  the  work.  However,  the  proprietors  of 
L'Art  seem  determined  to  enlist  the  best  ability  of  the  day,  and  if  their  venture  succeeds, 
as  we  may  hope  that  it  will,  the  art  of  etching  from  pictures  will  be  supported  by  three 
periodicals  in  Paris.  It  would  be  well,  perhaps,  if  these  periodicals  gave  rather  more 
encouragement,  proportionally,  to  the  independent  art  of  etching,  which  has  aims  and 
purposes  of  its  own  not  unfrequently  forgotten  in  the  anxiety  to  interpret,  by  great 
labour  and  often  with  doubtful  success,  the  tones  and  textures  of  painting.  But  of  this  I 
shall  have  more  to  say  in  another  place. 


CHAPTER  II. 


CLAUDE. 

'"JpHE  position  of  Claude  as  a landscape-painter  may  be 
briefly  defined  before  we  consider  him  as  an  etcher. 
He  was  the  first  artist  who  made  landscapes  thoroughly 
charming  by  means  of  artistic  and  harmonious  composition, 
and  beautiful  effects  of  light.  By  these  means  he  captivated 
the  connoisseurs  of  his  time,  and  became  the  father  of 
modern  landscape.  But  he  had  an  essentially  classical 
mind,  and  therefore  could  not  enjoy  pure  and  wild  nature 
like  Englishmen  and  Americans  of  the  present  day,  and  his 
study  of  nature  was  never  very  deep  or  passionate.  By 
long  labour,  and  on  account  of  his  artistic  aim — for  he  thought 
more  about  art  than  about  facts — he  came  to  possess  on 
some  points  a very  extraordinary  technical  skill ; and  this 
skill,  in  combination  with  his  pretty  composition  and  agree- 
able effects,  has  sufficed,  and  will  probably  always  suffice,  to 
maintain  his  reputation.  The  modern  study  of  nature  has 
proved  that  Claude  was  often  scientifically  weak,  but  it  has 
not  dethroned  him  as  an  artist ; and  although  many  of  us 
can  see  that  he  was  ignorant  of  much  that  has  since  been 
added  to  the  common  stock  of  information,  we  cannot  prac- 
tically beat  him  on  his  own  ground. 

His  superiority  as  an  etcher  is  chiefly  a technical 
superiority  ; he  could  lay  a shade  more  delicately,  and  with 
more  perfect  gradation,  than  any  other  etcher  of  landscape ; 
he  could  reach  rare  effects  of  transparency,  and  there  is  an 
ineffable  tenderness  in  his  handling.  These  are  his  chief 


CLAUDE. 


i58 


claims  to  our  consideration,  and  he  is  so  strong  on  these 
points  that  such  accomplished  moderns  as  Haden  and 
Samuel  Palmer  have  a great  reverence  for  his  name.  Add 
to  these  qualities  a certain  freedom  and  spirit  in  his  lines, 
which  served  him  well  in  near  masses  of  foliage,  and  a 
singularly  perfect  tonality  in  one  or  two  remarkable  plates, 
and  you  have  the  grounds  of  his  immortality  as  an  etcher. 
He  was  great  in  this  sense,  but  not  great  in  range  of  intel- 
lectual perception,  and  his  genius  at  the  best  is  somewhat 
feminine.  He  has  left  a few  unimportant  and  weak  etchings, 
but  he  has  also  left  half-a-dozen  masterpieces,  which  the 
severest  criticism  must  respect.  One  merit  of  his  is  not 
common  in  his  modern  successors — the  extreme  modesty  of 
his  style  ; no  etcher  was  ever  less  anxious  to  produce  an 
impression  of  cleverness,  and  his  only  object  seems  to  have 
been  the  simple  rendering  of  his  ideas.  He  sincerely  loved 
beauty  and  grace,  and  tried  innocently  for  these  till  his  touch 
became  gentler  than  that  of  a child’s  fingers,  yet  so  accom- 
plished that  the  stubborn  copper  was  caressed,  as  it  were, 
into  a willing  obedience. 

Le  B ouvier : second  state  (Dumesnil,  i.  13,  8). — A herds- 
man is  seated  near  a pool  of  water  which  his  cows  are  cross- 
ing. Beyond  the  pool  is  a magnificent  group  of  trees.  To 
the  left  of  these  trees  are  the  remains  of  a temple,  and,  above 
the  herdsman,  a distance  with  hills.  For  technical  quality  of 
a certain  delicate  kind  this  is  the  finest  landscape  etching  in 
the  world.  Its  transparency  and  gradation  have  never  been 
surpassed.  The  most  wonderful  passages  are  in  the  great 
masses  of  foliage  which  have  been,  as  it  were,  tenderly 
painted  and  glazed  with  the  point.  The  composition  is  very 
beautiful ; and,  though  the  study  of  nature  is  less  accurate 
than  in  some  modern  work,  there  is  a noble  movement  in 
the  trees  which  accurate  draughtsmen  often  miss,  and  which 
an  etcher,  of  all  artists,  is  bound  to  interpret  and  preserve. 

Le  Soleil  couchant ; second  state  (Dumesnil,  i.  19,  15). — 


CLAUDE. 


159 


A seaport  at  sunset.  To  the  left,  an  arch  of  triumph  in 
shadow,  and  trees  ; then  a round  tower,  some  battlements, 
and  a square  tower ; after  which  two  ships,  and  a distance 
of  hilly  coast.  To  the  right  is  another  tower,  near  which  is 
the  setting  sun. 

This  etching  is  remarkable  for  the  inexpressible  tender- 
ness of  its  sky.  When  heretics  and  unbelievers  say  that 
skies  cannot  be  done  in  etching,  it  is  always  convenient  to 
answer  them  with  a reference  to  this  plate  ; but  the  truth  is 
that  although  the  sky  is  marvellously  tender,  and  in  this 
respect  undoubtedly  the  finest  ever  etched,  the  cloud-forms 
are  so  simple  and  so  little  defined  that  Claude’s  success  in 
this  instance  has  not  solved  more  than  one  of  the  great 
sky-problems. 

Le  Troupeau  en  Marche  par  un  temps  d orage  (Dumesnil, 
i.  22,  18). — Easily  recognised  by  the  massive  fragment  of  a 
ruined  temple  to  the  left.  The  temple  has  Corinthian  columns, 
of  which  three  only  are  visible.  A flock  of  cattle  and  goats 
is  driven  by  a man  and  a dog  in  the  direction  of  the  temple. 
In  the  middle  distance,  to  the  right,  is  a rising  ground  with  a 
castle  on  it. , Between  the  castle  and  the  temple  is  a lake 
with  a village  on  its  shore,  and  beyond  the  lake,  in  the 
extreme  distance,  are  mountains.  The  reader  is  recommended 
to  study  more  particularly  the  third  state. 

Claude  seems  to  have  had  a sensitive  and  delicate  nature, 
more  capable  of  enjoying  the  softly  gradated  sky  of  a fine 
afternoon  than  the  grandeur  of  gathering  storm.  The  sky 
here  is  curiously  feeble  and  ineffectual,  but  the  etching  is 
one  of  Claude’s  best,  and  especially  deserves  to  be  studied 
for  the  piece  of  ruined  temple,  which  is  etched  more  firmly 
and  substantially  than  any  other  piece  of  architecture  by  him. 

La  Danse  villageoise  (Dumesnil,  i.  28,  24). — What  follows 
refers  to  the  first  state  only.  The  subject  is  generally 
exceedingly  pale,  and  Claude  has  here  made  an  experiment 
in  the  direction  of  mezzotint,  by  slightly  roughening  the 


i6o 


CLAUDE. 


surface  of  his  copper  to  obtain  a tinted  distance.  The 
foliage  is  exceedingly  graceful,  and,  though  the  plate  is 
obviously  an  experiment,  and  an  unsuccessful  one,  it  is  by 
no  means  the  least  interesting  of  the  series. 

Scbne  de  Brigands  (Dumesnil,  i.  1 6,  12).- — There  is  a 
mass  of  trees  to  the  left,  at  the  foot  of  which  are  dock-leaves. 
Towards  the  bottom  of  the  trunk  these  trees  are  crossed  by 
a palm-tree,  and  under  the  palm-tree  a man  is  attacked  by 
brigands.  The  distance  is  mountainous,  and  the  middle 
distance  wooded.  The  point  of  interest  here  is  the  contrast 
between  the  firmness  and  brilliancy  of  definition  in  the  palm- 
leaves  and  other  foreground  foliage,  and  the  tender  quality 
of  work  in  the  distance  and  sky. 

Berger  et  Bergbre  conversant  (Dumesnil,  i.  25,  21). — 
Not  so  rich  in  tone  as  some  other  etchings  of  Claude,  but 
free  and  grand  in  manner.  The  trees  to  the  right  have  a 
stately  grace,  and  there  is  an  extreme  elegance  in  the  tree 
that  divides  the  composition.  There  are  some  rolling  clouds, 
and  there  is  little  repose  in  the  unquiet  lines  of  the  fore- 
ground ; but  the  shepherd  and  shepherdess  can  have  their 
talk  without  paying  much  heed  to  so  finely  artistic  a con- 
sideration. 

La  Danse  sous  les  arbres  ; second  state  (Dumesnil,  i.  14, 
10).— The  central  figure  is  a woman  with  short  petticoat; 
above  her  a group  of  trees.  To  the  left  is  a woman  with 
tambourine,  and  four  villagers  are  seated  on  the  trunk  of  a 
fallen  tree.  Foliage  enriches  the  subject  to  the  right  and 
left,  and  between  the  trees  we  perceive  openings  of  hilly 
distance.  This  plate  is  remarkable  only  for  the  manual 
freedom  in  the  foliage. 


CHAPTER  III 


C ALLOT  AND  BOISSIEU. 

JT  has  already  happened  to  me  several  times,  in  the  course 
of  this  volume,  to  mention  artists  when  they  enjoy  great 
reputations,  even  though  I may  have  little  personal  sympathy 
with  their  work.  There  is  always,  however,  something  to 
interest  us  in  the  criticism  of  any  artist,  whether  we  like  him 
or  not,  for  there  is  always  a lesson  to  be  learned.  I believe 
that  no  true  etcher  will  get  much  good  by  the  study  of 
Callot,  because  his  manner  was  usually  far  more  that  of  an 
engraver  than  a genuine  etcher  : but  he  was  a man  of  great 
genius  and  wit,  and  when  he  chose  to  use  the  point  like  a 
true  etcher  he  could  do  so  very  effectually.  The  bits  of  true 
etching  occur  rarely,  and  only  in  parts  of  his  works  ; the 
mass  of  what  he  did  is  spoiled,  as  etching,  by  reminiscences 
and  imitations  of  the  burin.  When  the  reader  has  studied  a 
few  of  the  genuine  etchers,  he  will  at  once  see  for  himself  in 
what  failure  of  this  kind  consists,  and  even  so  great  a reputa- 
tion as  that  of  Callot  will  have  little  power  to  disturb  the 
tranquillity  of  his  judgment.  These  great  reputations  are 
so  often  due  to  something  else  than  technical  quality,  or  the 
faculties  which  lead  to  high  technical  accomplishment,  that 
it  is  never  any  reason  to  conclude  that  an  artist  is  to  be 
recommended  as  a model  for  imitation  merely  because  he  is 
famous. 

I have  copied  a small  portion  of  one  of  Callot’s  etchings, 
the  gateway  and  bridge  to  the  right  of  the  Tour  de  Nesle. 
The  reader  will  at  once  observe  that  the  bit  I have  copied  is 

M 


162 


CALLOT  AND  B0ISS1EU. 


a composition  in  itself,  and  this  leads  us  to  one  of  Callot’s 
most  curious  defects.  His  larger  subjects  are  not  complete 
compositions,  but  half-a-dozen  minor  compositions  fastened 
together  in  a sort  of  panorama.  Any  one  of  these,  taken 
by  itself,  looks  more  like  a picture  than  the  whole  engraving 
did,  with  its  superabundance  of  ill-arranged  material.  In 
this  respect  Callot  differed  as  widely  as  possible  from  the 
modern  French  school,  which  has  understood  that  unity  is 
the  first  necessity  of  art,  and  has  also  perceived  that  a large 
simplicity  of  subject  is  one  of  the  easiest  means  by  which 
unity  can  be  attained.  % Callot’s  power  of  composition  was 
often  very  great  in  little  groups  and  bits,  if  considered 
separately ; for  example,  there  is  a group  of  horses  taken  to 
bathe  in  the  river  just  under  the  Tour  de  Nesle,  which  is 
grand  enough  to  be  a sketch  for  a noble  picture ; the  com- 
position of  it  is  as  fine  as  it  can  be,  but  utterly  thrown  away 
in  the  midst  of  so  distracting  a plate,  where  there  is  so  much 
conflicting  material.  What  really  secured  Callot’s  fame  was 
the  original  and  very  life-like  manner  in  which  he  treated  his 
figures.  He  had  endless  inventions  in  putting  his  little 
people  into  what  seemed  natural  groups.  They  are  often 
defectively  drawn,  glaringly  out  of  proportion,  and  interpreted 
with  the  strongest  mannerism,  but  they  act  and  live  in  the 
great  human  comedy,  and  not  even  the  most  insignificant  of 
them  are  mere  lay  figures  or  dolls.  As  to  their  proportions, 
the  heads  are  generally  too  small,  often  ludicrously  so. 
Durer  gave  the  head  as  an  eighth  of  the  body,  and  the 
antique  sculptors  made  it  rather  larger.  Callot  makes  it 
sometimes  a ninth,  and  sometimes  even  a tenth.  In  the 
plate  entitled, 

Ces  pauvres  gueux  pleins  de  bon  aduetures 

Ne  portent  rien  que  des  choses  futures, 

the  player  in  the  right-hand  corner  has  so  small  a head  in 
proportion  to  his  legs  that  the  diameter  of  the  calf  is  equal 
to  the  whole  distance  from  the  chin  to  the  top  of  the  skull, 


C ALLOT  AND  BOISSIEU. 


163 


which  would  be  a monstrous  deformity  in  the  living  human 
being,  if  ever  such  a misproportion  occurred.  Callot’s  exces- 
sive mannerism  is  obvious.  Its  chief  peculiarity  is  the  habit 
of  reducing  everything  as  much  as  possible  to  a peculiar 
kind  of  curve,  rather  like  the  curve  of  a goose  quill  and 
feather.  If  the  reader  will  look  at  Callot’s  work  with  a view 
to  this  curve  he  will  be  surprised  by  the  frequency  of  its 
occurrence.  The  chiaroscuro  of  his  etchings  and  engravings 
ought  not  to  be  criticised  on  the  same  principles  as  if  it 
were  an  attempt  at  complete  chiaroscuro.  It  is  a simple 
indication  of  the  direction  in  which  the  light  falls,  no  more. 
The  texture  of  Callot’s  shaded  surfaces  is  often  not  only 
imperfect,  but  positively  offensive,  especially  when  he  made 
trellis-work  with  the  burin,  a plague  to  the  eyes.  He  was 
one  of  the  very  worst  draughtsmen  of  landscape  who  ever 
lived ; his  trees  are  mere  sausages,  with  tufts  of  grass  for 
leaves  ; but  he  drew  buildings  with  a sense  of  the  picturesque 
in  architecture  very  rare  in  his  own  age,  so  that  his  records 
of  them  are  interesting  in  the  highest  degree,  and  we  only 
regret  that  they  should  be  so  few. 

Boissieu  is  much  more  dangerous  than  Callot,  on  account 
of  his  uncommon  skill  in  the  very  things  that  a young  etcher 
is  anxious  to  acquire.  He  could  lay  his  tones  with  as  near 
an  approach  to  absolute  certainty  as  any  etcher  need  hope 
for ; and,  in  short,  he  was  such  a clever  fellow  that  he  could 
do  with  his  hands  whatsoever  his  mind  imagined.  But  all 
this  cleverness,  though  maintained  by  inexhaustible  patience 
and  untiring  industry,  led  only  to  delicate  renderings  of 
distant  tones,  and  a vulgarly  deceptive  imitation  of  nearer 
objects.  Boissieu  could  etch  a tub  till  it  looked  as  if  it  had 
been  photographed ; and  he  could  etch  a distant  hill  till  it 
looked  as  soft  and  grey  as  a hill  in  an  old  picture  ; but  both 
tub  and  distance  were  always  irremediably  uninteresting  as 
fine  art.  Boissieu  was  an  extraordinary  master  of  vulgar 
imitation,  in  which  no  etcher  ever  surpassed  him ; and  he 


1 64 


C ALLOT  AND  BOISSIEU. 


proved  at  least  this,  that  there  exists  in  etching  a fund  of 
imitative  resource  which  may  be  drawn  upon  to  an  extent 
little  dreamed  of  by  people  whose  one  idea  about  art  is,  that 
it  is  the  imitative  copyism  of  objects,  and  who  hate  etching 
because  it  is  too  interpretative  for  their  taste.  We  shall 
come  later  to  an  imitator  of  a far  higher  order,  Jules  Jacque- 
mart ; but  even  Boissieu  had  settled  the  question  as  to 
whether  etching,  in  skilled  hands,  could  or  could  not  imitate 
things  accurately. 

CALLOT.  La  Tour  de  Nesle. — The  Tour  de  Nesle  is  to 
the  right,  near  the  ihiddle  of  the  composition.  Beyond  it 
are  the  towers  of  Notre-Dame  in  the  distance,  the  Pont  Neuf, 
and  several  church  steeples,  besides  blocks  cf  houses.  The 
foreground  is  animated  by  a variety  of  figures,  some  in  boats, 
some  on  horseback,  others  on  foot. 

The  distant  view  of  Paris  is  beautiful,  and  the  various 
distances  are  carefully  preserved.  There  is  some  bad  per- 
spective, as  in  the  tower  itself,  where  the  rings  of  masonry 
are  wrong.  A set  of  circles,  seen  in  perspective,  the  circles 
being  at  various  elevations  above  the  spectator,  offers  just 
one  of  those  little  perspective  problems  which  puzzle  an 
artist  who  is  not  quite  sure  of  himself.  The  figures  have  the 
usual  intense  vivacity  of  Callot’s  men  and  women — they  are 
all  alive  and  doing  something  ; this  is  a power  akin  to  that 
of  Cruikshank,  who,  by  a similar  energy  in  movement,  has 
given  life  to  figures  so  small  that  the  faces  are  hardly  visible. 
It  is  a sort  of  pantomime  that  fills  this  foreground  from  side 
to  side  ; every  group  is  amusing,  and  a child  might  pass  half- 
an-hour  in  inventing  histories  of  the  actors. 

I need  not  expatiate  on  the  great  historical  and  topo- 
graphical interest  of  this  etching ; its  value,  as  a record  of 
Paris  in  Callot’s  time,  is  almost  inestimable. 

The  Louvre . — Another  view  of  the  Seine,  but  this  time 
looking  down  the  stream,  with  the  Tour  de  Nesle  to  the  left. 


PLATE  VII. 


SCENE  IN  OLD  PARIS,  NEAR  THE  TOUR  DE 
NESLE,  by  Callot. 


Copied  by  the  Author . 


PLATE  VII. 


(To  be  placed  opposite  page  164.) 

Scene  in  Old  Paris,  near  the  Tour  de  Nesle, 
by  Callot. 

' Copied  by  the  Author. 

This  is  a very  small  portion  of  the  large  plate  which  was  published  in  the  first 
edition  of  this  work.  In  the  original  the  burin  may  have  been  a good  deal  used. 
In  the  copy  it  has  not  been  used. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit 

Minutes. 

Distance  and  lightest  touches  on  foreground  .... 

12 

Middle  distance  ....... 

25 

Darker  parts  of  middle  distance  ..... 

35 

Foreground  ........ 

50 

First  proof  taken. 
Plate  not  retouched. 

In  printing,  this  plate  has  been  first  well  wiped  with  canvas,  and  then 
lightly  retroussee  in  the  foreground  and  the  house  to  the  right,  but  the 

retroussage  is  strictly  limited  to  these  portions. 

if 


/ 


CALLOT  AND  BOISSIEU. 


i65 

seen  from  the  other  side.  The  water  is  crowded  with  high- 
sterned  galleys,  with  masts  and  many  oars.  The  sails  are 
furled,  the  long  pennons  are  powdered  with  fleurs  de  lis.  It 
seems  to  be  a royal  procession  by  water ; the  quays  are 
crowded  with  figures. 

This  is  a good  instance  of  the  way  Callot  used  to  spoil 
his  etchings,  by  employing  engraver’s  methods  of  work.  In 
the  buildings  to  the  left,  the  shading,  which  was  at  first  per- 
pendicular, has  been  ruined  by  a set  of  unmeaning  diagonal 
lines,  which  produce  a very  unpleasant  reticulation.  There 
is  a mechanical  rigidity  in  the  building  which  is  contrary  to 
the  freedom  of  etching.  The  indications  of  cloud  are  weak 
and  engraver-like;  they  have  nothing  of  the  quality  of 
liberal  and  noble  art.  The  group  of  buildings  just  behind 
the  Tour  de  Nesle  is  in  the  highest  degree  picturesque — 
that  is,  we  see  that  the  buildings  themselves  must  have  been 
picturesque ; but  if  they  had  only  been  reserved  for  Meryon, 
how  much  they  would  have  gained  in  the  delineation ! 

BOISSIEU.  Vue  du  pont  et  du  chateau  de  Sainte  Colombe , en 
Dauphine. — A battlemented  and  turreted  castle  to  the  right, 
with  a mountain  behind  it.  Under  the  castle  are  a mill  and 
landing-stages  ; then  a river  with  a bridge,  and  to  the  left  of 
the  bridge  a massive  tree  ; to  the  left  of  the  tree  a ruin,  with 
arch  beneath.  In  the  foreground  a landing-place,  projecting 
from  a stone  pier  to  wooden  supports,  and  near  the  landing- 
place  a boat  with  large  rudder,  the  boat  containing  barrels, 
etc.  There  are  several  figures — two  men  sitting  on  tiller,  man 
and  woman  sitting  on  end  of  pier,  woman  and  boy  walking 
with  a dog,  man  fishing,  man  standing  leaning  on  his  stick. 

There  is  a considerable  artistic  craft.  The  distances  are 
kept  well,  relatively.  The  foreground  is  vigorous,  with  a 
tendency  to  old-fashioned  trifling  here  and  there.  The 
reflection  of  the  boat  is  careful,  the  work  on  the  boat 
tending  to  elaborateness,  firm  and  good  in  light,  but  in 


i66 


CALLOT  AND  BOISSIEU. 


shadow  needlessly  black.  The  form  of  the  mountain,  as  in 
all  art  of  that  time,  is  wanting  in  firmness  and  knowledge. 

Entree  die  village  de  Laniilly. — A pale  delicate  sky  with 
some  indication  of  cloud,  a building  to  the  right,  with  a 
square  mass  like  a tower  roofed  in  the  low  pyramid  form,  so 
often  seen  in  southern  countries.  There  is  a staircase  with 
a low  gable.  There  is  a large  tree  to  the  left,  with  the  trunk 
partially  denuded.  The  manual  delicacy  of  the  work  in  the 
sky  is  very  admirable,  but  the  imitative  rendering  of  the 
tree-trunk  is  puerile,  though  skilful  in  a high  degree.  On 
the  whole,  this  is  one  of  IJloissieu’s  best  etchings. 

Les  Tonneliers  (the  large  print). — Scene,  the  interior  of 
a wine-cellar.  Persona , four  men  ; namely,  a cooper  striking 
circles  with  his  hammer,  two  cellar-men  carrying  wine  in  a 
tub  suspended  on  poles,  a third  standing  and  looking  at  the 
spectator,  holding  a pitcher  on  a barrel. 

This  etching  is  mentioned  for  the  marvellous  imitative 
finish  in  the  barrel  to  the  left — not  to  recommend  it  for 
imitation,  but  as  a curious  example  of  what  may  be  accom- 
plished in  etching,  in  that  direction,  by  an  artist  more  skilful 
than  intelligent. 

Vue  du  Passage  du  Garillano , en  Italie. — A pale  sky, 
with  a few  clouds,  chiefly  to  the  right.  A mountain,  a city 
on  a hill  in  the  middle  distance,  an  aqueduct  to  the  right. 
A river  with  a ferry-boat ; in  the  boat  a carriage  and  pair,  a 
man  on  horseback,  and  several  other  people.  In  the  fore- 
ground, to  the  left,  a horse  going  to  drink  at  a trough,  a 
man  with  him,  another  man,  a woman,  two  children,  and  a 
dog.  In  the  right-hand  corner  is  a man  on  horseback, 
galloping  away. 

This  is  a very  perfect  etching  of  its  kind.  The  tone  is 
most  successfully  reached  everywhere.  Many  nobler  etchers 
might  be  glad  of  this  technical  certainty  in  getting  the  tone 
just  pale  enough  and  just  dark  enough.  It  is  a rare  accom- 
plishment, even  amongst  clever  men. 


CHAPTER  IV, 

MER  YON. 


^^HEN  our  enlightened  century  reflects  on  the  ignorances 
and  injustices  of  the  past,  it  is  apt  to  be  well  pleased 
with  its  own  luminous  superiority.  Albert  Durer  was 
wretchedly  poor,  and  John  Milton  got  an  instalment  of  five 
pounds  on  the  completion  of  “ Paradise  Lost,”  but  Mr.  Frith 
and  Miss  Braddon  are  paid  in  thousands.  And  are  not 
French  artists  rich  and  fortunate  now  ? Has  not  Meissonie* 
just  sold  a picture  for  six  thousand  pounds? 

No  doubt,  on  the  whole,  both  artists  and  writers  are  better 
paid  in  these  days  than  they  have  ever  been  before ; and 
although  both  occupations  are  more  crowded  than  ever,  there 
is  a better  chance  now  than  there  was  formerly  for  a good 
workman  in  either  to  obtain  recognition  during  his  lifetime. 
But  the  favour  of  the  public,  and  the  rewards  that  it  brings, 
do  not  always  find  out  and  encourage  the  best  men  ; and 
there  has  never  been  an  age  when  an  artist  of  rare  and 
peculiar  power  was  more  exposed  to  the  mortification  of 
seeing  vulgar  work  liberally  remunerated,  and  noble  work 
passed  in  neglect. 

The  case  of  Charles  Mdryon  is  one  of  those  painful  ones 
which  recur  in  every  generation,  to  prove  the  fallibility  of 
the  popular  judgment.  M^ryon  was  one  of  the  greatest  and 
most  original  artists  who  have  appeared  in  Europe ; he  is 
one  of  the  immortals ; his  name  will  be  inscribed  on  the 
noble  roll  where  Durer  and  Rembrandt  live  for  ever.  A few 
persons  now  living  know  this  as  well  as  I do,  but  these  few 
belong  to  a small  and  highly  cultivated  class,  with  which 


i68 


MERY  ON. 


the  great  art  public  has  very  little  in  common.  An  intelli- 
gent writer  upon  art  said,  not  very  long  ago,  that  artists  had 
no  occasion  to  complain  of  the  public,  because,  if  the  matter 
were  inquired  into,  it  would  be  found  that  every  artist  had 
his  own  public.  This  is,  no  doubt,  in  a certain  sense  true  ; 
every  writer  and  every  artist  is  appreciated  by  somebody,  if 
only  he  has  some  sort  of  talent  and  accomplishment ; but 
for  an  author  or  an  etcher  to  live  by  his  work  he  needs  more 
than  this  little  group  of  friends.  Three  customers  will  keep 
a painter  from  starving  for  a year,  but  no  composer  of  printed 
matter  could  live  if  he  had  only  three  readers.  An  etcher 
is  a composer  of  printed  matter,  and  he  needs  a public 
sufficiently  large  to  remunerate  him  adequately  for  his  time, 
— that  is,  at  least  two  hundred  regular  buyers.  Now,  to 
find  two  hundred  regular  buyers,  he  requires  ten  times  that 
number  of  students  and  admirers ; and  it  is  not  always  easy 
to  excite  the  serious  interest  of  two  thousand  people.  A 
public  which  is  not  extensive  enough  to  enable  its  favourite 
to  live  by  his  labour,  is  for  all  practical  purposes  not  a 
public  at  all ; and  it  is  in  vain  to  tell  an  author  that  he  is 
unreasonable  to  wish  for  more  than  a hundred  readers,  or  an 
etcher  that  he  is  foolishly  anxious  for  notoriety  when  he  is 
not  satisfied  with  the  approbation  of  the  cultivated  few.  The 
suffrage  of  the  cultivated  few  is  very  desirable,  and  there  is 
more  intellectual  and  artistic  encouragement  in  the  quiet 
praise  of  ten  competent  persons  than  in  the  applause  of 
multitudes ; but  the  very  love  of  art  itself  compels  an  artist 
to  wish  for  a public  not  only  educated,  but  numerous ; 
because,  without  either  a numerous  public  or  independent 
private  fortune,  he  cannot  continue  to  work.  Meryon  was 
sorely  tried  by  public  and  national  indifference,  and  in  a 
moment  of  bitter  discouragement  he  destroyed  the  most 
magnificent  series  of  his  plates.  When  we  think  of  the 
scores  of  mediocre  engravers  of  all  kinds,  who,  without  one 
ray  of  imagination,  live  decently  and  contentedly  by  their 


MER  YON 


169 


trade,  and  then  of  this  rare  and  sublime  genius  actually 
ploughing  deep  burin  lines  across  his  inspired  work,  because 
no  man  regarded  it ; and  when  we  remember  that  this  took 
place  in  Paris,  in  our  enlightened  nineteenth  century,  it  makes 
us  doubt  whether,  after  all,  we  are  much  better  than  savages 
or  barbarians.  Now  that  plates  can  be  preserved  by  steel- 
ing, the  etchings  of  a man  like  Meryon  would  sell  by  tens 
of  thousands  if  the  world  knew  their  value ; but  when  such 
work  as  this  is  set  before  the  vulgar  public,  it  is  like  casting 
pearls  before  swine. 

Meryon  was  born  in  Paris  in  1821,  the  illegitimate  son 
of  an  English  father.  Much  of  the  unusual  delicacy  of 
perception  which  distinguished  him  as  an  artist,  is  attributed 
by  Mi  Burty  to  maternal  influence.  He  studied  mathematics 
with  much  industry  and  application,  and  entered  in  1837 
the  naval  school  of  Brest.  As  a naval  officer  he  visited 
many  remote  shores,  sailing  even  round  the  world,  and 
always  employing  his  leisure  hours  in  sketching  everything 
of  interest  that  came  in  his  way.  But,  though  Meryon  loved 
the  sea,  and  had  a fraternal  affection  for  sailors,  his  health 
was  not  robust  enough  for  a life  of  that  kind,  and  he  was 
obliged  to  abandon  his  profession.  Being  already  an  intelli- 
gent practical  amateur,  he  endeavoured  to  become  an  artist ; 
and,  with  the  intention  of  adopting  painting  as  a profession, 
took  lessons  of  M.  Phellippes,  a former  pupil  of  David.  As 
a painter,  Meryon  did  not  succeed,  probably  from  anxiety 
to  produce  pictures  without  the  necessary  technical  education. 
Whilst  suffering  from  disappointment  in  this  ambition,  he 
happened  to  meet  with  M.  Eugene  Blery,  who  directed  his 
attention  to  etching.  Meryon  studied  etching  for  several 
months  with  M.  BHry,  and  employed  this  time  fruitfully  in 
the  analysis  of  plates  by  the  elder  masters,  which  he  copied 
as  exercises.  This  preliminary  study  was  followed  by 
excursions  in  Normandy  and  a visit  to  Bourges,  a picturesque 
old  city  not  very  far  south  of  the  Loire. 


ME R YON. 


170 


Before  undertaking  the  series  of  original  etchings  on 
which  his  fame  will  rest,  Meryon  laboriously  employed  the 
art  in  the  translation  of  other  men’s  work,  or  in  the  execution 
of  more  or  less  uncongenial  commissions.  What  developed 
Meryon  was  his  passionate  wish  to  preserve  some  adequate 
memorial  of  that  picturesque  old  city  of  Paris  which  has 
disappeared  before  the  constructive  activity  of  Haussmann 
and  Louis  Napoleon.  If  old  Paris  had  been  likely  to 
remain  a generation  or  two  longer,  it  is  possible  that  we 
might  scarcely  have  heard  of  Meryon,  because  half  the 
quality  of  his  work  is  due  to  the  intensity  of  his  affection 
for  remains  whose  destruction  he  foresaw  with  the  most 
bitter  regret,  as  a near  and  irremediable  misfortune  which 
he  had  no  power  to  avert.  But  if  an  artist  cannot  save  an 
old  building  which  he  loves,  he  may  at  least  secure  a 
memorial  of  it,  a memorial  better  than  the  fidelity  of  the 
photograph,  because  it  expresses  not  only  the  beauty  of  the 
thing  itself,  but  the  pathetic  affection  of  the  one  human  soul 
that  cares  for  it.  It  became,  then,  the  object  of  this  artist 
to  make  a series  of  etchings  in  which  the  old  tourelles  and 
quaint  streets  of  Paris  should  be  preserved  for  future  times, 
and  when  he  undertook  this  task  he  had  already  made  him- 
self the  most  accomplished  architectural  etcher,  not  only  of 
this  century,  but  of  all  centuries  ; not  only  of  France,  but  of 
the  world.  The  opportunity  for  the  exercise  of  Imperial 
encouragement  was  exceptional  and  splendid  ; and  if  the 
Government  had  known  its  duty,  Meryon  would  have  been 
commissioned  to  do  perfectly,  and  on  a far  more  extensive 
scale,  what  he  did  imperfectly  in  the  face  of  absolute  public 
indifference  and  the  stern  possibility  of  starvation. 

So,  without  encouragement  of  any  kind,  this  great  artist 
patiently  laboured,  etching  with  the  strangest  and  most 
novel  union  of  sobriety  of  manner  with  depth  of  poetical 
feeling.  He  printed  a few  copies  of  his  plates,  and  left 
them  with  different  booksellers  and  dealers  in  engravings ; 


PLATE  VIII. 


PALACE  OF  JUSTICE,  AND  BRIDGE,  PARIS, 
Part  of  a plate  by  MERYON. 


Copied  by  the  Author. 


PLATE  VIII. 

(To  be  placed  opposite  page  170.) 


Palace  of  J ustice,  and  Bridge,  Paris,  part  of  a 
Plate  by  Meryon. 

Copied  by  the  Author . 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

1 

Minutes. 

Lightest  touches  in  extreme  distance  . . . . 

3 

Sky 

10 

Distant  building  and  paler  ripples  ..... 

IS 

The  remote  pepper-box  towers  ..... 

20 

The  nearer  pepper-box  towers  ..... 

25 

Lighter  parts  under  arches  ...... 

35 

Darker  parts  under  arches  with  building  to  the  left,  and  farther  boat 

45 

Nearest  arch  with  nearest  boat  . . . . 

55 

First  proof  taken. 

The  plate  having  been  bitten  as  intended,  there  was  nothing  to  be  done 
except  add  a few  lines  which  had  been  omitted.  The  plate  was  covered 
again  with  black  ground,  and  these  lines  added  and  bitten  thirty  minutes  in 
Dutch  mordant. 


Second  proof  taken. 

A few  fine  lines  added  in  sky  and  water  with  dry-point.  A few  burin 
lines  inserted  here  and  there  under  the  bridges.  The  splay  of  the  arches 
made  visible  by  making  the  shade  lighter  with  the  burnisher. 


Plate  printed  simply,  being  wiped  with  canvas  only,  and  then  very  slightly 
retroussee  in  the  foreground  and  dark  arch  to  the  left. 


/ 


\ 


MERY  ON. 


171 


but  the  stream  of  life  rolled  past  in  its  ceaseless  flow,  and 
paid  as  much  attention  to  these  jewels  as  the  waves  of  the 
Mississippi  give  to  some  lost  treasure  on  its  banks.  This 
neglect  seems  to  have  produced  the  first  visible  symptom  of 
a mental  malady,  which  clouded,  with  varying  degrees  of 
darkness,  the  remaining  years  of  the  unhappy  artist’s  life. 
After  living  in  the  asylum  at  Charenton,  where  he  continued 
in  some  measure  the  practice  of  his  art  so  long  as  physical 
health  remained,  Meryon  at  length  passed  out  of  an  exist- 
ence made  wretched  by  poverty,  sickness,  insanity,  and  by 
the  apathy  of  an  age  unworthy  of  him.  Meryon  became 
subject  to  the  hallucination  that  he  was  surrounded  by 
crafty  and  secret  enemies,  who  were  constantly  plotting 
against  him. 

As  an  etcher  Meryon  was  remarkable  for  great  cer- 
tainty of  hand  combined  with  extraordinary  caution.  When 
at  work  from  nature  he  stood,  and  without  support  of  any 
kind,  held  both  plate  and  mirror  in  one  hand,  laying  the 
lines  with  the  other,  and  so  steadily  that  the  most  skilful 
etchers  marvelled  at  his  skill.  No  work  ever  done  in  the 
world  has  been  more  absolutely  honest,  more  free  from 
executive  affectation  or  pride  of  method.  He  had  great 
subtlety  and  delicacy  of  observation,  and  a perception  of 
truth  so  clear,  that  it  is  strange  how  such  bright  insight 
can  have  been  compatible  with  any  cloud  or  malady  of 
the  mind.  His  work  was  sanity  itself,  by  its  perfect 
and  equal  acceptance  of  various  facts,  by  its  patience  and 
steadiness  in  study,  by  its  caution  and  moderation  in 
manner.  Thus,  as  I pointed  out  some  years  ago,  Meryon 
was  picturesque,  but  not  narrowly  and  exclusively  pictu- 
resque; for  when  a pure  line  occurred  in  a modern  or 
Renaissance  building,  he  gave  it  with  marked  attention  to 
its  especial  quality  of  purity.  It  is,  perhaps,  to  this  very 
capacity  for  appreciating  purity  that  a certain  peculiarity  of 
Mdryon  may  be  due,  which  has  occasioned  a doubt  whether 


172 


ME  R YON. 


he  ought  to  be  considered  a great  etcher,  in  the  strict  sense, 
or  a great  original  engraver.  He  did  not  sketch  so  much 
or  so  freely  as  good  etchers  usually  do,  and  there  is  a 
severity  in  his  manner  not  always  compatible  with  the  ease 
of  true  etching.  Nevertheless,  I class  him  amongst  true 
etchers  on  account  of  his  frank  use  of  the  explanatory  line, 
which  is  the  chief  test ; added  burin  or  dry-point  work  does 
not  prove  impotence  with  the  etching-point,  and  is  little 
more  than  a sort  of  glaze. 

Considered  psychologically,  the  work  of  Meryon  is  highly 
curious.  It  is  thoughtful,  reflective,  intensely  personal,  and 
full  of  strange  hints  of  a passionate  fantasy,  secret  and  sub- 
dued. This  mental  quality,  far  more  than  the  manual 
dexterity  of  the  artist,  is  the  secret  of  his  inexhaustible 
charm.  He  is  a sort  of  enigma  for  us,  which  we  are  always 
trying  to  solve.  Victor  Hugo,  with  the  clear  eye  of  a poet, 
saw  at  once  this  mental  fascination,  and  saw  that  Meryon 
needed  to  be  strengthened  by  all  possible  encouragements 
in  his  great  struggle  with  the  Infinite — the  infinite  of  Paris, 
the  infinite  of  the  sea.  This  was  said  in  Victor  Hugo’s 
peculiar  way — he  can  never  write  without  some  allusion  to 
the  Infinite  or  the  ocean — but  in  this  case  the  word  was 
not  inapplicable.  Meryon  was  evidently  an  artist  of  vast 
and  vague  aspirations,  though  a dull  critic  might  be  pre- 
vented from  seeing  this  by  the  unusual  precision  of  his 
manner.  Beyond  the  actual  buildings  which  he  drew,  there 
are  suggestions  of  long  and  lonely  meditation  on  life  and 
nature,  on  time  and  space,  and  the  bewildering  abysses  of 
immensity. 

Le  Stryge. — At  an  angle  of  one  of  the  towers  of  Notre- 
Dame  there  is  a horned  and  winged  demon  who  perpetually 
contemplates  Paris,  his  head  resting  on  his  hands,  and  his 
elbows  on  a flat  ledge  of  stone.  He  looks  down  the  Seine 
towards  the  pavilions  of  the  Tuileries,  and  his  stony  eyes 


MER  YON 


173 


s 

have  watched  through  the  long  centuries  the  changes  on  its 
banks.  The  face  wears  an  expression  of  quiet  and  con- 
tented observation  ; from  the  Middle  Ages,  when  this  demon 
first  looked  from  his  lofty  post,  there  has  been  sin  enough  in 
the  great  city  to  afford  him  uninterrupted  satisfaction.  He 
saw  the  massacre  of  St.  Bartholomew,  and  felt  warm  glad- 
ness in  his  heart  of  stone  whilst  the  chants  of  thanksgiving 
rose  musically  in  the  choir  below  ; nor  was  he  less  inwardly 
gratified  when  the  slow  processions  of  carts  took  the  nobles 
to  the  guillotine  and  the  chanting  priests  were  silenced. 
Those  uncouth  ears  have  heard  the  roar  and  tumult  of 
revolution  and  the  clamour  of  the  near  bells  that  shook  the 
grey  towers  in  the  hour  of  triumph,  when  the  versatile 
priesthood  praised  God  and  the  powers  that  be.  Nor  have 
public  crimes  or  public  miseries  been  the  demon’s  only  con- 
solation. Night  after  night  he  hears  the  low  splash  when 
the  suicide  leaps  into  the  water,  and  a steady  continuous 
murmur  of  long  lamentation  and  blasphemy. 

When  Mery  on  took  the  Stryge  for  a subject,  it  was  with 
ideas  of  this  kind.  If  we  deduct  the  malignant  feeling  which 
may  be  attributed  to  a demon,  the  position  of  one  who,  from 
a lofty  height,  surveys  the  life  of  a great  city,  is  simply  the 
position  of  genius  relatively  to  the  multitude  of  men.  And 
Meryon  himself,  who  was  a genius  of  the  order  most  given 
to  reflection  and  solitude,  did  not  draw  his  demon  without 
some  considerable  amount  of  sympathy.  Four  ravens  are 
flying  about  him  in  the  free  air,  like  the  dark  and  morbid 
thoughts  that  visit  a lofty  but  too  much  isolated  mind ; and 
thus,  as  we  know,  was  M6ryon  himself  assailed. 

I am  not  quite  sure  whether  the  obviously  false  tonality 
of  this  plate  may  not  have  been  intentional,  as  the  same 
fault  certainly  was  in  some  engravings  of  Albert  Durer ; but 
when  a critic  allows  these  things  to  pass  in  a work  which  he 
admires,  his  silence  may  be  imputed  to  ignorance.  The 
intense  black  in  the  street  under  the  tower  of  St.-Jacques 


174 


ME  R YON. 


destroys  the  impression  of  atmosphere  ; though  at  a consider- 
able distance,  it  is  as  dark  as  the  nearest  raven  s wing,  which 
cannot  relieve  itself  against  it.  This  may  have  been  done 
in  order  to  obtain  a certain  arrangement  of  black  and  white 
patches,  but  it  seems  unfortunate,  and  is  certainly  untrue. 
The  tower  of  St.-Jacques  is,  however,,  very  right  and  beautiful, 
and  so  is  the  curious  distance  over  the  roofs. 

La  Pompe  Notre- Dame. — If  the  reader  will  refer  to 
Turners  Rivers  of  France,  he  will  find  a subject  called  the 
“ Hotel  de  Ville  and  Pont  d’Arcole,”  in  which  the  picturesque 
object  that  engaged  Tu'rner’s  attention  and  induced  him  to 
make  the  drawing  is  evidently  a curious  building  in  the 
middle  of  the  river,  and  in  the  centre  of  the  composition. 
This  building  consists  of  a tower  and  two  wings,  and  it  is 
entirely  supported  on  a substructure  of  wooden  scaffolding. 
This  is  the  pump  which  has  furnished  a subject  for  Mtfryon. 
His  remarkable  precision  of  hand,  and  his  usually  wise 
moderation  in  light  and  shade,  have  never  been  better 
exemplified.  Take,  for  example,  the  exquisitely  gentle 

curvature  in  the  three  main  lines  of  the  tower,  and  the  entire 
absence  of  exaggerated  blackness  throughout  the  whole  plate. 
Many  of  the  wall  surfaces  are  in  the  shade,  but  it  is  shade 
illuminated  by  reflection.  The  intricate  arrangement  of  the 
massive  carpentry  is  expressed  with  evident  enjoyment  and 
a strong  sense  of  construction. 

L'Abside  de  Notre-Dame  de  Paris. — The  tonality  here  is 
somewhat  less  accurate  than  in  the  plate  just  criticised,  but 
the  questionable  passages  are  chiefly  in  the  bridge  and 
houses  ; and  the  cathedral  is  a wonderful  piece  of  work. 
There  are,  no  doubt,  many  living  engravers  who  could  get 
quite  safely  through  pieces  of  architecture  not  less  elaborate, 
and  many  photographs  have  been  taken  from  this  very 
position,  which,  as  copies  of  the  building,  are  much  more 
mechanically  perfect.  The  value  of  work  of  this  kind  is  due 
to  an  exquisite  artistic  sensitiveness,  which  has  presented 


MERYON. 


*75 


the  subject  to  us  in  such  a way  as  to  give  it  poetical 
interest. 

Tourelle , rue  de  la  Tixeranderie , demolie  en  185  1.— The 
general  reader  may  feel  interested  in  this  plate  on  account 
of  its  subject,  which  is  one  of  those  picturesque  corner-turrets 
that  the  Scottish  architects  borrowed  from  the  French,  and 
which  give  so  much  character  to  many  an  old  tower  north 
of  the  Tweed.  This  was  one  of  the  finest  examples  which 
had  escaped  destruction  down  to  the  middle  of  the  present 
century,  and  its  demolition  coincided  with  the  erection  of  the 
first  Crystal  Palace  in  Hyde  Park.  From  the  artistic  point 
of  view  this  tourelle  was  worth  considerably  more  than  Sir 
Joseph  Paxton’s  enormous  shed,  but  its  disappearance  was 
not  thought  an  event  of  much  importance,  except  by  a few 
eccentric  people,  like  Meryon,  who  do  not  always  estimate 
things  by  a tariff  of  material  values.  Readers  who  intend 
to  etch  may  find  here  much  profitable  study  in  the  explana- 
tory use  of  lines  which  constantly  follow  either  the  perspec- 
tive of  surfaces  or  the  direction  of  shadows ; and  the  plate 
has  the  additional  advantage  of  showing,  in  a marked  degree, 
how  moderate  and  refined  is  Meryon’s  understanding  of  the 
picturesque.  The  stately  turret  and  the  free  foliage  of  the 
vine  about  its  base  would  have  had  charms  for  any  sketcher, 
but  Meryon  alone  could  have  seen  the  full  artistic  available- 
ness of  the  modern  chimneys  and  roof,  and  the  contrasting 
value  of  the  ugly  modern  house  to  the  left.  The  explanatory 
use  of  line  has,  in  one  point,  been  carried  a little  too  far. 
There  is  an  attempt  to  render  the  appearance  of  wood,  by  a 
somewhat  puerile  imitation  of  its  grain.  It  may  be  observed 
also  that  Meryon’s  readiness  to  accept  unpicturesque  material 
has  made  him  a little  too  tolerant,  when  he  gives  us  the 
bit  of  wall  in  the  foreground  forming  an  acute-angled  triangle 
of  the  most  painfully  mechanical  sort. 

La  Rue  des  Toilts , Bourges. — It  is  not  easy  to  procure 
the  etchings  of  Meryon,  which,  for  the  most  part,  are  out  of 


176 


MERY  ON. 


print,  the  plates  having  been  destroyed ; but  the  “ Rue  des 
Toiles  ” was  given  by  the  etcher  to  a friend  of  his,  and  I 
hired  the  copper  for  the  Fine  Arts  Quarterly  Review , in  which 
it  appeared  in  January  1864.  The  subject  is  a picturesque 
mediaeval  street ; and  though  the  etching  is  not  so  good  as 
those  mentioned  above — for  it  has  been  over-bitten,  and 
there  is  some  confusion  in  the  tonality — it  gives,  nevertheless, 
an  idea  of  Meryon’s  qualities  as  a mediaevalist.  Victor  Hugo 
is  known  to  be  one  of  his  warmest  admirers,  and  these  quaint 
details  have  much  in  common  with  Hugo’s  picturesque 
descriptions. 

Le  Pont  Neuf. — Early  proofs  of  the  latest  state  in  which 
all  the  dry-point  work  is  given,  show  Meryon  quite  at  his 
best.  The  Pont  Neuf  is  the  most  picturesque  of  existing 
Parisian  bridges ; and  however  superfluous  its  projecting 
turrets  may  have  seemed  to  the  utilitarian  mind,  they  were 
always  delightful  to  artists.  This  plate  has  been  engraved 
for  no  other  purpose  than  to  show  two  of  these  turrets  to 
the  very  best  possible  advantage ; they  are  in  full  sunshine, 
whilst  all  the  rest  of  the  plate  is  either  in  subdued  middle 
tint  or  sombre  depths  of  shade.  From  the  impenetrable 
gloom  under  the  massive  arches  to  the  aerial  delicacy  of  the 
distant  street,  there  is  the  widest  range  of  executive  resource  ; 
but  whatever  has  been  done  either  in  massive  arch,  or  flow- 
ing water,  or  many-storeyed  houses,  or  clouded  space  of  sky, 
has  been  done  always  in  honour  of  these  two  turrets  on  the 
bridge.  Even  the  third  turret,  that  nearest  us,  has  been 
sacrificed  to  them  and  cast  into  intentional  shade ; and 
when  Meryon  comes  to  the  rounding  of  the  far-projecting 
cornice,  where  the  gleam  of  sunshine  falls,  he  follows  every 
reflection  with  an  indescribable  pleasure  and  care.  The 
wonder  is  that  the  delighted  hand  could  work  so  firmly  here, 
that  it  did  not  tremble  with  the  eagerness  of  its  emotion  and 
fail  at  the  very  instant  of  fruition. 


CHAPTER  V. 


LALANNE. 


J^JAXIME  LALANNE  is  the  first  artist  who  ever 
received  knighthood  for  his  qualities  as  an  etcher. 
When  the  King  of  Portugal  conferred  upon  him  the  Order  of 
Christ,  it  was  expressly  in  recognition  of  the  value  of  his 
etchings  ; but  the  King  of  Portugal  is  an  etcher  himself,  and 
knows  good  work  when  he  sees  it. 

No  one  ever  etched  so  gracefully  as  Maxime  Lalanne. 
This  merit  of  gracefulness  is  what  chiefly  distinguishes  him  ; 
there  have  been  etchers  of  greater  power,  of  more  striking 
originality,  but  there  has  never  been  an  etcher  equal  to  him 
in  a certain  delicate  elegance,  from  the  earliest  times  till  now. 

He  is  also  essentially  a true  etcher ; he  knows  the  use  of 
the  free  line,  and  boldly  employs  it  on  due  occasion.  So 
far  his  work  is  very  right,  but  it  has  the  fault  of  too  much 
system.  Lalanne  has  reflected  much  upon  his  art,  and  has 
decided  in  his  own  mind  that  certain  methods  are  good 
methods,  and  so  he  sticks  to  these  on  all  occasions  with  a 
fidelity  that  amounts  to  a fault.  No  one  can  doubt,  on 
looking  at  any  plate  by  Lalanne,  for  example  the  one  in  this 
book,  that  he  is  a master  of  his  craft,  that  he  quite  knows 
what  he  is  about,  that  he  is  always  perfectly  safe,  and  will 
make  the  needle  express  anything  he  intends  to  express  ; 
but  then,  on  the  other  hand,  there  is  no  reaching  of  the 
mind  beyond,  no  vague  yearning  after  unattempted  excel- 
lence, nor  any  of  those  half-failures  that  attend  undefined 
and  unlimited  aspirations. 

N 


i78 


LALANNE. 


The  defect  of  too  much  system  may  be  due  in  this 
instance,  as  it  certainly  was  in  that  of  Harding,  to  the  habit 
of  giving  lessons.  Few  artists  who  give  lessons  escape  from 
the  temptation  to  invent  and  apply  a definite  method  to 
everything,  because  such  definite  methods  are  the  secret  of 
apparent  rapidity  in  teaching.  If  a great  artist  tried  to 
make  an  amateur-pupil  follow  him  in  his  searchings  for  un- 
attempted expressions  of  unknown  thoughts,  if  he  himself 
became  the  “hierophant  of  an  unapprehended  inspiration,” 
as  Shelley  said  that  poets  are — and  he  included  painters 
amongst  poets — then  the  only  consequence  would  be  that 
the  pupil  would  be  left  behind,  alone  in  the  pathless  wilder- 
ness. A teacher  who  honestly  tries  to  make  his  pupils  learn 
something,  endeavours  to  simplify  art  for  them  ; that  is,  he 
eliminates  the  vagaries  of  special  research,  and  makes  art  as 
systematic  as  possible.  In  doing  this  he  runs  infinite  risk 
of  spoiling  his  own  art,  by  abandoning  all  that  he  finds  to 
be  unteachable  ; in  other  words,  all  that  is  rarest  and  best. 

Rue  des  Marmousets  (Vieux  Paris). — A capital  bit  of 
street-sketching.  In  this  street  dwelt  of  old  a pastry-cook, 
who,  with  the  help  of  his  neighbour  the  barber,  murdered  a 
man  in  the  pastry-cook’s  house  and  made  pies  of  him,  which 
were  highly  appreciated  by  the  public.  “ C’est  de  terns 
immemorial  que  le  bruit  a couru  qu’il  y avait  en  la  citd  de 
Paris,  rue  des  Marmousets,  un  patissier  meurtrier,  lequel 
ayant  occis  en  sa  maison  un  homme,  ayde  a ce  par  un  sien 
voisin  barbier,  faignant  raser  la  barbe  : de  la  chair  d’icelui 
faisait  des  pastez  qui  se  trouvoient  meilleurs  que  les  aultres, 
d’autant  que  la  chair  de  l’homme  est  plus  delicate,  a cause 
de  la  nourriture,  que  celle  des  aultres  animaux.”  In  M. 
Lalanne’s  etching  the  lines  of  the  old  houses,  curving  slightly 
and  leaning  back  from  the  street,  are  followed  with  much 
interest  and  enjoyment,  and  every  accident  in  wall  or  window 
is  made  the  most  of. 

A Bordeaux. — A view  of  the  city  of  Bordeaux,  which  has 


LALANNE. 


179 


the  honour  of  claiming  Lalanne  as  one  of  its  distinguished 
citizens.  One  of  the  least  interesting  of  his  plates.  No 
doubt  the  cathedral  spire  and  lofty  tower  with  the  scaffold- 
ing set  up  all  round  it  are  indicated  with  rare  delicacy  ; no 
doubt  the  line  of  houses  along  the  quay  is  suggestive  of 
much  wealth  and  large  population  ; and  the  long  bridge  and 
the  shipping  are  cleverly  put  in  ; and  the  boat  in  the  fore- 
ground serves,  with  its  black  mass,  as  a vigorous  repoussoir. 
Nevertheless,  the  plate  is  dull,  and  its  dulness  is  to  be  attri- 
buted, I imagine,  to  the  impervious  blocking-up  of  the  view 
by  that  too  long  and  regular  line  of  houses  that  stretches 
entirely  across  it. 

Demolition  pour  le  percement  du  Boulevard  St. -Germain. 
— Though  the  conventional  black  shadow  crosses  the  fore- 
ground, there  is  great  delicacy  and  truth  in  the  tall  tower- 
like scaffolding,  the  houses  in  the  middle  distance,  and  the 
beautiful  dome  of  the  Pantheon,  visible  beyond,  like  a 
mountain-crest  pale  and  delicately  outlined,  seen  beyond  a 
middle  distance  of  rugged  cliffs  and  a foreground  of  scattered 
boulders. 

Demolition  pour  le  percement  de  la  Rue  des  P coles. — The 
foreground  is  dark  again  under  the  conventional  black 
shadow,  but  a glancing  side-light  illuminates  an  irregular 
block  of  houses,  bringing  their  picturesque  projections*" into 
strong  relief.  To  the  left  is  a delicate,  light  spire,  probably 
that  of  the  Sainte-Chapelle,  seen  through  haze,  and  executed 
like  the  cathedral  of  Bordeaux  in  the  plate  criticised  above. 
This  spire,  and  the  distant  bit  of  street  under  it,  are  full  of 
mystery,  and  by  their  extreme  delicacy  of  tint  give  great 
force  to  the  intentionally  rude  work  in  the  foreground.  It 
is  a fixed  principle  with  Lalanne  to  draw  near  objects  with 
heavy  and  open  lines,  and  distant  ones  with  light  and  close 
lines,  keeping  a regular  gradation  between  the  two  of  gradu- 
ally increasing  refinement,  as  the  needle  passes  from  the 
foreground.  Like  all  good  etchers,  he  is  very  partioular  in 


i8o 


LALANNE. 


making  his  lines  explanatory ; the  direction  of  the  shading 
in  this  foreground,  always  various,  always  carefully  thought 
out,  is  an  excellent  instance. 

Vue  prise  du  Pont  St.-Mickel. — One  of  the  most  charm- 
ing scenes  which  the  improvements  in  Paris  have  opened  out 
to  us,  and  the  most  beautiful  etching  hitherto  published  by 
the  French  Club.  The  majestic  doilnes  of  the  new  Louvre 
rise  in  their  strange,  accidental,  unaccountable  way  above 
the  long  line  of  the  great  palaces  of  royalty  and  art ; the 
Pont  Neuf  is  just  under  them,  all  in  shadow  except  its 
picturesque  projections  that  catch  the  sunshine,  and  its  grace- 
ful curve  to  the  right,  where  it  joins  the  brilliant  quay.  Soft 
reflections  from  the  noble  bridge  fall  undisturbed  amongst 
the  resting  barges  ; and  groups  of  trees  whose  artistic  value 
the  Parisian  edile  knows  so  well,  stand  by  the  noble  river, 
having  no  more  fear  of  the  axe  than  if  they  sunned  themselves 
on  the  loneliest  shore  of  all  her  hundred  leagues. 

Aux  Environs  de  Paris. — The  foliage  is  very  graceful 
and  elegant,  but  the  excessive  love  of  waved  lines  in  spray- 
drawing has  led  to  some  want  of  woody  quality.  It  is  the 
garden  of  one  of  those  delightful  habitations  where  the 
dainty  taste  of  the  Parisian  architect  has  exercised  itself  in 
the  free  country,  and  where  a rich  man  who  is  aesthetic 
enough  to  know  the  value  of  a beautiful  dwelling  may  enjoy 
the  possession  of  it  in  peace. 

A Neuilly , Seine . — Notable  for  the  same  elegance  as  the 
preceding  subject.  The  water  is  not  sufficiently  studied,  but 
the  foliage  is  beautiful. 

Paris.  Vue  prise  du  Pont  de  la  Concorde. — The  largest 
etching  by  the  artist,  but  by  no  means  the  best.  The 
indication  of  distances  is  true  as  to  tone,  but  neither  the 
water  nor  the  foliage  is  sufficiently  studied.  The  water  is 
not  level,  and  there  is  an  abuse  of  straight  lines  in  the  shading 
of  the  foliage.  The  plate  is  an  attempt  to  introduce  etching 
as  a decoration  for  walls  ; this  etching  is  intended  for  framing. 


LALANNE. 


181 


It  would  be  interesting  to  see  further  attempts  in  this  direc* 
tion,  which  might  make  the  art  somewhat  more  popular . 
but  it  may  be  doubted  whether  it  is  generally  wise  to  attempt 
very  large  plates. 

Chez  Victor  Hugo. — A series  of  twelve  small  etchings, 
some  of  which  are  remarkable  for  a minute  delicacy,  obtained 
without  sacrifice  of  breadth.  The  best  are  the  “ Salon 
Rouge,”  the  “ Galerie  de  Chene,”  the  “ Cheminee  de  la 
Galerie  de  Chene,”  and  the  “ Look  Out.”  The  “ Porte  de  la 
Galerie  de  Chene,”  and  the  “ Cheminde  de  la  Salle  k 
Manger,”  may  also  be  mentioned.  These  plates  are  not 
far  removed  in  manner  from  contemporary  English  work, 
and  are  as  good  as  the  best  of  Horsley  and  Cope.  As 
studies  of  still-life  they  are  very  admirable,  but  too  photo- 
graphic in  their  system  of  chiaroscuro,  often  losing  detail  in 
black  where  detail  is  still  clearly  visible  in  nature.  Victor 
Hugo  inhabited,  when  in  exile,  an  ugly  modern  house,  the 
inside  of  which  he  made  as  romantic  as  possible,  with  carved 
wood  and  collections  of  various  kinds.  The  incongruousness 
between  the  Philistinism  of  the  house  itself,  and  the  poetry 
of  its  contents,  is  very  glaring,  and  would  make  the  place 
even  more  intolerable  to  any  one  with  a sense  of  fitness 
than  a Philistine  dwelling  consistently  furnished  on  the 
principle  of  Philistinism. 

Traiti  de  la  Gravure  d VEauforte  (plate  3,  opposite  page 
66,  first  edition,  lowest  of  the  three  subjects  on  the  plate). — 
M.  Lalanne  has  published  a useful  treatise  on  etching,  much 
better  than  any  of  its  predecessors,  and  illustrated  by  his 
own  hand.  This  little  landscape-subject  is  the  most  delicate 
and  most  graceful  landscape-etching  ever  executed  in  France 
since  Claude’s  time.  It  is  perfectly  charming,  and  well 
worth  the  price  of  the  whole  book.  The  trees  are  rich  and 
majestic,  the  water  liquid,  the  bit  of  foreground  vigorous  and 
frank,  the  distance  delicate  and  aerial.  It  is  an  epitome  of 
Lalanne’s  excellence;  and  the  only  misfortune  about  it  is. 


182 


LALANNE. 


that,  since  it  is  published,  not  as  a work  of  art,  but  as  an 
illustration  of  method,  nobody  will  pay  any  attention  to  it. 

A Fribourg , Suisse . — A portion  of  this  etching  is  given 
here,  and  the  reader  will  be  able  to  gather  from  it  all  the 
essential  peculiarities  of  Lalanne’s  method  from  the  fore- 
ground to  the  distance.  He  will  also  at  once  recognise  the 
ease  and  certainty  of  Lalanne’s  execution,  qualities  of  the 
greatest  importance  in  this  open  and  frank  kind  of  etching. 


PLATE  IX. 


FRIBOURG,  SWITZERLAND,  by  Maxime  Lalannk 
A portion  of  the  original  plate. 


PLATE  IX. 


(To  be  placed  opposite  page  1S2.) 

Fribourg,  Switzerland,  by  Maxime  Lalanne. 

A portion  of  the  original  plate. 

The  following  table  of  bitings  is  conjectural,  as  an  accurate  register  was  not 
kept  at  the  time.  It  will  be^  found,  however,  very  nearly  accurate,  having  been 
ascertained  by  experiment  on  another  copper. 


BITINGS. 


Nitric  acid  and  water  in  equal  quantities. 
Bath  (not  artificially  heated)  65°  Fahrenheit. 

Minutes. 

Extreme  distance  ....... 

3 

Distant  towers,  etc.  ....... 

6 

Street  and  distance  to  right  ...... 

Trees,  fountain,  and  central  house,  with  small  kiosk,  also  upper 

10 

buildings  to  left  ....... 

20 

Deepest  lines  in  foreground  ...... 

30 

This  plate  has  probably  not  been  retouched.  It  was  done  from  nature, 

and  is  a perfect  example  of  Lalanne’s  manner  in  original  sketching. 

The  nitric  acid  used  is  at  forty  degrees,  which  means  that  when  the  phe- 
acide  is  set  to  float  in  the  pure  acid,  the  surface  of  the  liquid  will  coincide 
with  the  fortieth  degree  on  the  register.  This  gives  the  degree  of  density  of 

the  acid. 

CHAPTER  VI 


JACQUEMART. 

JULES  JACQUEMART  is  the  most  marvellous  etcher  of 
still-life  who  ever  existed  in  the  world.  In  the  power 
of  imitating  an  object  set  before  him  he  has  distanced  all 
past  work,  and  no  living  rival  can  approach  him.  Jacque- 
mart  has  no  invention,  little  art  in  composition,  and  probably 
neither  a very  retentive  memory  nor  any  profundity  of 
thought,  but  he  sees  more  clearly,  and  draws  what  he  sees 
more  exquisitely,  than  anybody  else.  He  has  pushed  imita- 
tion in  etching  to  the  utmost  imaginable  refinement,  and 
developed  it  to  the  utmost  possible  force.  The  union  of 
these  two  qualities,  force  and  refinement,  was  never  more 
perfect,  even  in  the  work  of  the  great  men  of  the  past ; but 
it  must  be  remembered  that  Jacquemart,  though  a true  king 
in  his  art,  is  king  of  a minor  realm.  He  is  amongst  etchers 
what  Blaise  Desgoffe  is  amongst  painters,  an  unapproachable 
copyist  of  matter. 

Such  copyism  as  this  amounts,  in  its  way,  to  genius. 
The  beauties  which  Jacquemart  sees  and  reveals  in  a master- 
piece of  goldsmith’s  or  lapidary’s  work  are  for  the  most  part 
imperceptible  by  the  common  eye.  Like  a true  artist  and 
poet,  he  teaches  us  what  to  look  for ; and  we  come  at  last  by 
his  guidance  to  perceive  magic  qualities  in  the  precious  relics 
of  the  past,  till  cups  of  crystal  and  agate,  and  sword-hilts,  or 
chalices  of  gold,  are  for  us  themes  of  inexhaustible  wonder, 
objects  of  unwearied  interest  and  contemplation.  I never 
knew  the  glory  and  beauty  of  noble  old  work  in  the  precious 


1 84 


JACQUEMART. 


stones  and  metals  till  Jules  Jacquemart  taught  me.  The 
“Joyaux”  of  the  Louvre  were  familiar  to  me,  but  a veil 
hung  between  me  and  their  true  splendour ; and  it  was  only 
when  Jacquemart  had  etched  them  one  by  one  that  I learned 
to  know  them  truly.  An  egg  of  crystal  belonged  to  a 
fortune-telling  gipsy  ; her  eyes  could  see  magic  figures  in  its 
watery  clearness  which  revealed  to  her  the  hidden  mysteries 
of  fate  ; often  have  others  looked  into  it,  but  always  without 
apprehending  the  secret  things  of  destiny.  So  we  have  our 
precious  gems  and  vases,  and  we  never  know  their  inner 
wonder  and  significance  till  there  comes  a genius  like 
Jacquemart,  when  suddenly  the  scales  fall  from  our  eyes,  and 
for  the  first  time  in  our  lives  we  see  / So  true  is  this  that 
the  study  of  Jacquemart’s  etchings  has  definitely  increased 
my  enjoyment  of  common  objects,  such  as  plate  and  crystal 
on  a dinner-table,  and  the  veinings  of  marble,  and  the  trans- 
parencies of  jewels  ; I apprehend  subtle  lustres  and  reflec- 
tions in  these  things  which  were  once  imperceptible  to  me, 
and  I know  that  the  difference  is  due  to  the  etchings  of  Jules 
Jacquemart — I know  this  as  positively  as  a man  who  has 
been  successfully  operated  for  cataract  knows  to  what  surgeon 
he  owes  the  recovery  of  his  sight. 

Jacquemart  has  etched  some  landscapes  and  views  of 
cities  which  show  no  sign  of  remarkable  artistic  powers.  He 
has  also  published  a work  on  book-binding,  giving  soft- 
ground  etchings  of  many  old  designs,  all  executed  in  the 
prosiest  possible  way,  and  as  unlike  what  he  does  now  as  the 
ugly  duckling  to  the  swan.  His  portraits  are  sometimes 
clever,  and  his  compositions  of  flowers  still  more  so,  but  it  is 
conceivable  that  another  man  might  attain  the  degree  of 
skill  shown  in  these  etchings.  When  Jacquemart  illustrated 
porcelain  for  a work  of  his  father,  “ Histoire  de  la  Porcelaine,” 
he  began  to  be  inimitable  ; and  when  he  was  commissioned 
by  M.  Barbier  de  Jouy  to  illustrate  the  jewels  of  the  Louvre, 
he  stood  at  last  on  his  own  ground,  master  of  his  subject. 


JACQUEMART. 


i85 

master  of  his  means,  safe  from  all  human  rivalry,  a prince  in 
a little  fairy  princedom  of  his  own,  full  of  enchanted  treasures, 
full  of  gold  and  opal  and  pearls,  of  porphyry  and  sardonyx 
and  agate,  of  jasper  and  lapis  lazuli,  all  in  the  deepest  and 
truest  sense  his  own ; for  what  rich  man  ever  so  truly 
possessed  these  things  ? 

Histoire  de  la  Porcelaine  (plate  6).— The  etching  repre- 
sents a Chinese  dinner-plate  and  two  cups.  Jacquemart’s 
principle  of  imitation  has  evidently  been  to  give  the  greatest 
importance  to  local  colour,  and  to  admit  only  just  so  much 
effect  as  may  be  necessary  to  indicate  the  form  of  the  object. 
There  is  effect,  however,  though  often  infinitely  subtle,  in 
every  etching  in  the  work  ; one  side  of  an  object  is  always 
more  strongly  lighted  than  the  other  side,  and  the  light  in 
its  passage  reveals,  by  hints  of  ineffable  delicacy,  the  pro- 
jections and  hollows  of  the  porcelain.  The  relation  of  local 
colour  to  chiaroscuro  is  here  strictly  that  aimed  at  by  Paul 
Veronese,  and  is  precisely  the  one  best  fitted  for  the  repre- 
sentation of  painted  ware.  There  are  two  personages ; a 
lady  in  her  garden,  and  her  lover  scaling  the  wall ; both  have 
black  hair,  which,  in  each  case,  occurs  on  a part  of  the  plate 
which  is  in  full  light,  but  Jacquemart  takes  no  notice  of  this* 
and  makes  the  hair  as  black  as  he  possibly  can.  This  is 
justifiable  because  both  heads  are  surrounded  by  perfectly 
white  porcelain,  which  by  contrast  would  make  the  hair  strike 
us  as  two  patches  of  absolute  black,  even  in  full  light. 

Histoire  de  la  Porcelaine  (plates  14  and  15). — Especially 
marvellous  for  the  imitation  of  texture  and  surfaces.  If  the 
reader  will  observe  the  way  in  which  Jacquemart  has  imitated 
the  craquett  and  the  souffle  in  the  two  vases  of  plate  14,  and 
the  lower  part  of  the  tea-pot  in  plate  15,  and  then  study  the 
rich  colouring  of  the  upper  part  of  the  same  tea-pot,  he  will 
agree  with  me  that  when  etchers  fail  to  render  texture,  it  is 
either  because  they  disdain  it,  or  because  they  have  not 


i86 


JACQUEMART. 


mastered  the  art,  and  not  from  any  defect  inherent  in  the 
nature  of  the  process. 

Hint  Etudes  et  Compositions  de  Fleurs. — It  is  not  necessary 
to  offer  special  criticism  of  any  of  these  compositions,  but  I 
may  direct  attention  to  qualities  which  are  common  to  all  of 
them.  The  true  nature  of  the  petals  of  a flower  has  never, 
to  my  knowledge,  been  so  well  expressed  in  art.  The  petal 
of  a flower,  considered  simply  as  tissue,  is  quite  unlike  any- 
thing we  are  accustomed  to  manufacture.  It  is  never  of  the 
same  thickness  throughout,  it  is  never  precisely  of  the  same 
shade,  it  bulges  and  curls,  and  softly  droops  and  falls  till  its 
surfaces  are  presented  to  the  light  in  a thousand  unimaginable 
ways.  Alone  amongst  draughtsmen,  Jacquemart  has  fully 
comprehended  this ; and  as  his  hand,  better  than  any 
other  human  hand,  has  rendered  the  hardness  of  porphyry 
and  the  inflexible  fragility  of  porcelain,  so  also  it  has  most 
truly  interpreted  the  tender  shades  and  complex  delicate 
lines  on  which  depend  the  untidiness  of  the  poppy,  and  the 
beauty  of  the  rose. 

Gemmes  et  Joyaux  de  la  Couronne  ; Plate  2,  Vase  antique 
de  Sardoine. — There  is  nothing  in  the  form  of  this  vase  to 
merit  the  labour  of  Jacquemart,  for  it  resembles  a common 
pitcher;  but  as  the  material  was  dark  and  very  highly 
polished,  the  whole  object  is  covered  with  various  reflections, 
which  are  imitated  with  a degree  of  force  and  audacity  ex- 
tremely‘rare  amongst  copyists  of  such  things  as  this.  Jac- 
quemart had  a studio  in  the  Louvre,  and  there  the  precious 
vases  were  brought  to  him  ; they  stood  upon  his  table  till  he 
had  done  with  them,  and  the  table  was  near  to  a window. 
This  window  is  reflected  over  and  over  again  on  the  polished 
surface  of  the  stone,  and  the  reader  may  observe  how  much 
of  the  brilliancy  of  the  etching  depends  upon  the  contrast 
between  the  white  sky  in  the  window-panes  and  the  black 
shades  where  they  are  not  reflected.  He  may  also  perceive 
the  utility  of  the  straight  lines  of  the  window-frames,  which 


JACQUEMART. 


187 


are  here  curved  in  very  various  directions,  and  express  by 
their  curvature  the  form  of  the  surfaces  which  reflect  them. 

Gemmes  et  Joyaux  ; Plate  6,  Vase  antique  de  Porphyre . — 
An  Abbot  of  St.  Denis  had  an  Egyptian  vase  of  porphyry, 
and,  wishing  to  make  use  of  it  for  his  altar,  had  a great 
golden  eagle  added  to  it.  In  Jacquemart’s  etching  the  chief 
marvel  is  the  imitation  of  the  speckled  and  polished  porphyry, 
which  is  amazing.  The  wings  and  neck  of  the  golden  eagle 
are  interpreted  with  work  as  simple  in  manner  as  an  ordinary 
pen-drawing,  yet  clearly  expressing  the  nature  of  the  thing. 

Gemmes  et  Joyaux  ; Plate  1 8,  Vase  de  Jaspe  oriental. — 
The  goldsmith’s  work  on  this  vase  is  attributed  to  Cellini, 
and  I mention  it  for  the  contrast  in  manner  between  the  ex- 
treme precision  of  the  etching  on  the  golden  handles,  and  the 
mystery  of  mingled  veining  and  reflection  in  the  jasper. 
That  piece  of  jasper  is  marvellously  pre-eminent,  even  in  this 
catalogue  of  marvels. 

Gemmes  et  Joyaux : Plate  1 9,  Hanap  de  Cristal  de 
Roche. — A drinking  vessel  of  the  time  of  Francis  I.  cut  in 
rock  crystal,  in  the  similitude  of  a fish.  Of  all  the  substances 
Jacquemart  has  imitated,  crystal  is  certainly  the  most  diffi- 
cult, because  it  affords  so  few  vigorous  oppositions.  It  is 
especially  difficult  when  set  by  itself,  in  this  way,  without  the 
help  of  a background  or  of  any  opaque  object  for  contrast. 
The  power  of  cutting  clearly  is  a point  of  sympathy  between 
the  etcher  and  the  carver  of  the  crystal,  and  the  etcher  be- 
comes for  the  time,  by  sympathy,  in  imagination  a crystal- 
cutter.  When  Jacquemart  did  this  he  thought  of  crystal 
only,  and  of  copper-plates  not  at  all. 

Gemmes  et  Joyaux : Plate  20,  Coupe  de  Jaspe  oriental. 
— -I  think  this  is  the  most  exquisite  cup,  in  point  of  form,  in 
the  whole  French  collection.  Observe  the  sure  drawing  of 
the  rim,  six  curves  all  made  different  by  perspective,  and  in- 
expressibly difficult.  See  also  the  different  treatment  of  the 
two  handles  and  of  the  dolphins  below  the  cup. 


1 88 


JACQUEMART. 


Gemmes  et  Joyaux  : Plate  23,  Drageoir  de  Cristal  de 
Roche. — Here  is  the  same  perspective  difficulty  in  the  draw- 
ing of  the  rim,  in  still  greater  complexity.  There  is  a fine 
flow  in  the  lines,  in  the  raised  centre  of  the  cup,  like  the 
lines  that  the  reins  take  when  a man  drives  many  horses 
abreast  After  etching  a bright  transparent  thing  like  this, 
with  such  beautiful  and  elaborate  curves,  Jacquemart  could 
etch  a wave,  if  only  it  would  stay  for  him  ; but  the  condition 
of  consummate  imitative  work  is  always  that  the  subject 
must  stay  to  be  studied. 

Gemmes  et  Joyaux : , Plate  28,  Saliere  de  Lapis  Lazuli. — 
There  is  so  much  local  colour  here  that  when  once  we  have 
been  told  the  material,  we  see  it  as  if  it  had  been  painted, 
with  all  its  depths  of  azure,  and  glittering  faults  of  pyrites. 
The  methods  of  work  adopted  here  are  entirely  different  from 
those  used  in  the  preceding  subject,  for  Jacquemart  is  so 
versatile,  and  adapts  his  art  so  readily  to  the  imitation  of 
various  materials,  that  every  new  kind  of  matter  exacts  from 
him  the  invention  of  new  arrangements  of  line 

Gemmes  et  Joyaux : Plate  30,  Coupe  de  Jaspe  oriental. — 
There  is  a little  group  at  one  end  of  this  cup,  Neptune  and 
Amphitrite,  which  may  be  taken  as  a more  than  commonly 
severe  test  of  Jacquemart’s  power  of  drawing.  It  is  very 
beautiful ; even  the  hands,  notwithstanding  their  minuteness, 
are  given  with  perfect  accuracy.  Observe  the  lightness  of 
the  pale  golden  trident,  and  its  contrast  with  the  rich  dark 
of  the  jasper.'* 

* In  this  portion  of  the  work  I adhere  to  my  first  plan  of  describing  original 
etchings  only,  but  the  reader  will  find  in  the  present  edition  a section  on  etching 
from  pictures  which  includes  an  estimate  of  Jacquemart’s  labours  in  that  kind. 


CHAPTER  VII. 


CHARLES  JACQUE. 

T3  EADERS  who  wish  to  know  more  about  Charles  Jacque 
and  his  labours  than  I have  space  for  here,  are 
recommended  to  procure  M.  Guiffrey’s  “ Catalogue  of  Jacque’s 
etchings,”  which  was  published  in  1866  by  Mdlle.  Lemaire, 
I IO  Boulevard  de  Magenta,  Paris. 

Charles  Jacque  was  born  in  Paris  in  1813.  At  the  age 
of  seventeen  he  was  placed  with  a geographical  engraver, 
but  did  not  like  the  work,  and  enlisted  as  a soldier.  Plis 
military  career  lasted  seven  years,  during  which  he  was 
present  at  the  siege  of  Antwerp.  After  his  return  to  the 
life  of  a civilian,  Jacque  spent  two  years  in  England,  where 
he  worked  as  a draughtsman  on  wood ; and  these  seem 
to  have  been  his  only  absences  from  France.  He  had 
relations  in  Burgundy,  and  during  his  visits  to  these  relations 
he  found  the  material  for  many  of  his  best  etchings. 
Burgundy  is  a very  good  country  for  an  etcher ; the  rustic 
life  is  more  than  usually  picturesque,  and  there  are  plenty  of 
old  buildings  and  bits  of  good  landscape.  The  true  French 
picturesque  is  seldom  seen  in  greater  perfection  than  in 
Burgundy ; it  exists  there  in  the  most  profuse  abundance, 
but  in  odd  places  where  no  one  but  an  artist  would  know 
how  to  discover  it.  Jacque  had  the  right  instinct  for  material 
of  this  kind,  and  made  good  use  of  it,  as  many  an  etching 
of  his  still  testifies.  His  farmyards  and  scenes  of  rustic  life 
are  most  of  them  reminiscences  of  this  region,  and  to  me — • 
who  have  lived  in  Burgundy  for  years — they  have  a familiar 


190 


CHARLES  JACQUE. 


air,  a look  of  home,  which  proves  that  they  render  not  only 
the  details  of  local  truth,  but  the  spirit  of  the  land. 

Charles  Jacque  is  a painter,  and  a constant  contributor 
to  the  Salon.  I dislike  his  paintings  for  their  false  and  un- 
pleasant colour,  but  he  knows  sheep  and  poultry  well,  and 
is  a master  of  rustic  life.  His  skill  in  drawing  poultry  may 
be. partly  accounted  for  by  the  fact  that  he  is  himself  a dis- 
tinguished fancier  and  breeder. 

Of  his  quality  as  an  etcher  it  is  not  easy  to  speak  briefly. 
Some  of' his  works  are  manly,  others  effeminate;  some  are 
imitative,  others  in  a high  degree  interpretative ; some  are 
rapid  and  intuitive,  others  slow  and  painfully  laborious. 
The  total  result  is  that  he  will  certainly  be  remembered  as 
one  of  the  master  etchers  of  our  time.  He  has  etched 
more  than  four  hundred  plates,  and  out  of  these  hundreds  a 
selection  might  be  made  which,  in  its  way,  would  bear  a 
comparison  with  much  of  the  most  famous  work  of  past 
centuries. 

Charles  Jacque  can  work,  when  in  the  humour,  in  as 
genuine  a way  as  any  master  whatever,  but  he  is  subject  to 
A hankering  after  dainties  in  execution,  which  are  not  whole- 
some, artistic  pastry  and  sweets,  which  a masculine  appe- 
tite ought  not  to  desire.  He  draws  very  admirably  when 
the  subject  of  his  drawing  is  one  that  he  has  a great 
affection  for;  I have  noticed,  for  instance,  that  in  his  farm- 
yards the  utensils  are  drawn  with  a degree  of  truth  and  pre- 
cision very  unusual  in  art,  and  no  man  ever  drew  poultry 
better.  He  does  not  really  draw  trees,  however,  though  he 
conveys  the  sentiment  of  landscape.  His  deep  and  sincere 
love  of  simple  country-life  gives  a great  charm  to  many  of 
his  etchings,  and  is  entirely  conveyed  to  the  spectator.  A 
sentiment  of  this  kind  escapes  analysis,  but  communicates 
itself  in  a wonderful  ineffable  way.  No  artist  ever  had  the 
sentiment  of  rusticity  in  a purer  form  than  Jacque.  This  is 
quite  a different  feeling  from  the  great  passion  for  landscape, 


CHARLES  JACQUE. 


191 

and  artists  who  have  the  nobler  passion  scorn  it.  The 
sentiment  of  rusticity  is  strictly  a classical  one  ; that  is,  it 
springs  up  always  towards  the  close  of  rigidly  classical 
periods  in  art.  It  is  quite  natural  that  Troyon,  Charles 
Jacque,  Rosa  Bonheur,  and  such  others,  should  arise  at  the 
close  of  the  classical  movement  which  ended  with  Ingres. 
Of  all  the  rustic  artists  Charles  Jacque  has  the  simplest  and 
purest  feeling ; and  his  Parisian  contemporaries,  who  for  the 
most  part  are  indifferent  to  the  noble  landscape-passion 
enter  without  difficulty  into  an  idyllic  poetry  of  this  kind. 
Notwithstanding  our  Northern  breeding,  and  the  influences 
of  our  recent  literature,  we  may  also  enjoy  a rusticity  which 
is  genuine  and  sincere. 

A Pastoral,— A flock  of  sheep  with  a shepherd  and  dog. 
Further  description  is  unnecessary,  because  the  plate,  although 
without  title,  is  the  frontispiece  to  M.  Guiffrey’s  Catalogue. 
I mention  it  on  account  of  the  probability  that  the  reader, 
if  interested  in  Charles  Jacque,  will  either  procure  the  Cata- 
logue or  already  possess  it. 

The  chief  merits  of  this  little  pastoral  are  unity  of  manner 
and  simplicity  of  purpose.  It  has  a delightful  appearance 
of  ease,  and  belongs  to  that  small  class  of  artistic  perform- 
ances in  which  there  is,  strictly  speaking,  no  study,  but  only 
the  results  of  study.  In  one  sense,  we  have  here  the  work 
of  three  hours,  in  another  the  work  of  thirty  years.  The 
subject  may  be  taken  as  representative  of  Jacque’s  pastorals 
generally  ; the  landscape  is  so  commonplace  as  to  seem 
insignificant,  yet  its  very  triviality  gives  a familiar  look  ot 
truth.  The  only  variety  in  the  land  is  a difference  of  level 
of  about  a foot,  forming  a kind  of  step  which  repeats  itself 
on  the  sheep’s  backs  as  they  slowly  advance  together. 
There  are  three  or  four  willows  beyond  the  sheep,  and  two 
young  ash-trees  on  this  side  of  them,  but  their  treatment  is 
freely  interpretative,  and  the  leafage  is  not  more  studied 


192 


CHARLES  JACQUE . 


than  the  grass  in  the  foreground,  which  is  represented  by  a 
few  open  and  careless  strokes. 

Une  Ferine  (Guiffrey,  189). — The  farm  has  two  gables 
and  a thatched  roof  beyond.  There  are  two  walls,  one  to 
the  left  coming  near  to  the  spectator,  and  above  which  are 
seen  the  trees  of  an  orchard  whose  branches  overhang  and 
cast  shadows  down  it.  The  other  wrall  is  at  right  angles  to 
the  line  of  building,  and  in  the  shade ; beyond  it  rise  lofty 
trees.  A flock  of  sheep,  in  a state  of  much  hurry  and 
excitement,  are  driven  by  a shepherd  and  his  dog  in  a 
direction  away  from  the  spectator;  amongst  the  sheep  are 
two  cows,  and  a third  cow  is  driven  by  another  man  along 
the  shaded  wall.  In  the  immediate  foreground  are  a cock 
and  four  hens  on  a dunghill. 

This  is  one  of  the  finest  of  Charles  Jacque’s  farms  ; in 
some  of  them  the  finish  is  pushed  unnecessarily  far,  but  the 
work  here  is  serious  and  manly.  The  texture  of  the  long 
wall  with  the  gables  is  as  good  as  Decamps’,  and  the  colour- 
ing of  the  roofs  and  of  the  dark  tree  masses  is  boldly  right 
and  true.  The  action  of  the  crowding  sheep  is^given  with 
perfect  vivacity.  There  is  an  apparent  rudeness  in  the  open 
shading  of  the  sky  which  pleases  me  by  its  frank  avowal  that, 
although  a rough  wall  may  be  translated  imitatively  as  to 
texture,  sky  and  cloud  cannot  be.  Painters  have  a supersti- 
tion that  every  subject  needs  an  escape  into  the  remote 
distance,  and  nine  men  out  of  ten  would  have  knocked  down 
the  wall  to  the  right  and  given  us,  in  place  of  it,  a league  or 
two  of  landscape.  Charles  Jacque  has  acted  much  more 
wisely ; he  needed  the  inclosure  as  a characteristic  of  farm- 
precincts,  and  as  an  element  in  the  expression  of  homeliness. 

Petits,  petits ! (Guiffrey,  187). — A boy  is  seated  on  a 
board,  which  rests  upon  two  barrels,  and  a little  girl  leans 
upon  the  same  board  near  him.  The  boy  is  feeding  poultry. 

If  this  etching  had  appeared  in  one  of  the  best  publica- 
tions of  the  English  Club,  it  would  have  borne  comparison. 


CHARLES  JACQUE . 


193 


as  a specimen  of  essentially  modern  finish,  with  the  best 
work  of  Hook  or  Frederick  Tayler ; and  although  the 
Germans  have  made  laborious  attempts  in  the  same  direc- 
tion, they  have  not  yet  surpassed  such  work  as  this.  I feel, 
however,  with  regard  to  this  plate,  and  others  of  a like  quality 
by  the  same  master,  the  same  sense  of  approval,  under 
protest,  which  I have  already  expressed  in  speaking  of 
Boissieu  and  others.  The  subject  is  charming,  the  composi- 
tion admirable,  and  the  execution  skilful  beyond  praise  ; but 
this  is  not  the  kind  of  skill  that  a noble  etcher  ought  to  care 
for  and  aim  at.  These  tours  de  force  in  soft  shading,  like 
chalk  spread  with  the  stump  ; these  little  specks  of  reserved 
light,  like  touches  of  white  on  a lithograph  ; these  pretty 
bits  of  accurate  imitation  on  hoops  of  barrel  and  plumage  of 
bird,  however  dexterous  and  inimitable  in  their  way,  are 
scarcely  worth  the  toil  they  cost. 

Ifiwe  think  of  this  simply  as  a picture,  our  criticism  is 
disarmed,  and  we  can  but  do  homage  to  its  sweetness  and 
truth.  There  is  poetry  in  the  very  title,  Petits , petits ! 
The  children  are  not  artist’s  models,  but  real  country- 
children  feeding  their  favourites,  as  it  seems  to  us,  in  some 
quiet  corner  where  no  one  sees  them.  It  is  an  hour  of  happy 
idleness ; the  simple  meal  is  ended,  but  one  morsel  of  bread 
remains  which  these  grateful  fowls  may  share. 

V Hiver  (Guiffrey,  195). — In  the  middle  of  the  foreground 
a youth  is  seated  with  a stick  between  his  legs ; he  turns 
his  head  to  look  at  a girl  who  is  driving  two  cows.  He 
himself  has  the  charge  of  eleven  pigs.  To  the  right  is  part 
of  a pool  of  water,  and  above  the  swineherd  the  border  of  a 
wood.  The  etching  is  signed  in  the  right-hand  corner,  “ Ch. 
Jacque,  1 864.”  There  is  a want  of  brilliancy  in  this  etching 
amounting  almost  to  dulness.  The  figure  of  the  swineherd 
is  easy  and  natural,  but  it  is  the  only  really  good  thing  in 
the  plate.  There  are  many  trunks  of  trees  which  are  neither 
scientific  nor  imaginative.  The  subject  is  agreeably  arranged, 

O 


194 


CHARLES  JACQUE. 


but  feebly  executed.  It  is  pretty,  and  only  pretty — a criti- 
cism which  equally  applies  to  several  other  works  by  the 
same  artist 

Le  Labourage  (Guiffrey,  182). — A man  ploughing  with  a 
pair  of  horses.  The  horses  are  drawn  with  great  truth,  and 
all  the  details  about  the  harness  and  plough  are  rendered 
with  careful  fidelity.  The  figure  of  the  man  is  less  success- 
ful, and  the  landscape  is  somewhat  meagre  and  poor.  A 
more  powerful  landscape-painter  would  have  drawn  the  dark 
earth,  as  it  turns  over  and  falls  from  the  ploughshare,  with 
far  greater  force  than  this.  The  earth  here  looks  as  much 
like  spread  hay  as  the  cloven  soil. 


CHAPTER  VIII 


DAUBIGNY. 

■^^HEN  a critic  has  been  long  devoted  to  the  practical 
study  of  art,  he  may  often  arrive,  by  means  of 
experiment,  at  conclusions  concerning  the  especial  powers  of 
artists,  which  must  be  inaccessible  to  the  pure  theorist. 
Some  years  ago  the  present  writer  had  an  unfeigned  con- 
tempt for  Daubigny,  on  the  ground  of  his  ignorance  or 
negligence  of  form  ; but  some  practical  attempts  in  oil-colour 
and  etching,  to  attain  the  qualities  of  Daubigny’s  work, 
convinced  him  that  whatever  might  be  the  shortcomings  or 
defects  of  that  artist,  he  deserved  at  least  our  most  respect- 
ful consideration.  The  accurate  delineation  of  form  has  not 
been  amongst  his  purposes,  and  so  it  has  come  to  pass  that 
he  either  cannot  draw,  or  will  not ; but  let  us  ever  remember 
that  he  has  purposes,  and  that  the  abandonment  of  form  is  a 
deliberate  sacrifice  made  for  the  attainment  of  these  ends. 
What  Daubigny  cares  for,  and  aims  at,  is  an  artistic  unity 
of  aspect ; and  as  he  paints  or  etches  invariably  for  this 
unity,  thinking  of  the  whole  only,  and  never  about  parts, 
except  as  portions  of  the  whole,  it  has  come  to  pass  that  he 
apparently  neglects  the  parts,  and  so  an  animal  or  a branch 
may  be  shapeless,  but  the  picture  is  not  shapeless.  Whether 
the  result  attained  may  or  may  not  be  worth  such  great  sacri- 
fices, may  be  doubtful,  but  it  does  not  seem  doubtful  to  me. 
I feel  satisfied  that  Daubigny,  both  as  painter  and  etcher,  has 
found  his  true  expression,  and  that  this  expression  in  his 
case  is  well  worth  the  sacrifice  of  accuracy  in  form.  But 


196 


DAUBIGNY. 


might  he  not,  by  perseverance,  have  drawn  better  without 
missing  artistic  unity  ? I believe  not ; I believe  that  any 
attempt  to  preserve  such  drawing  as  is  popularly  considered 
good,  would  have  nullified  his  whole  work,  whilst  the  far 
more  arduous  ambition  of  thoroughly  good  draughtsmanship 
would  have  turned  his  efforts  into  quite  a different  channel ; 
so  that  the  Daubigny  whom  we  know  would  have  had  no 
artistic  existence.  There  are  many  varieties  of  bad  drawing  : 
there  is  Daubigny’s,  which  is  perfectly  honest,  and  never  sets 
itself  up  for  more  than  it  is, — nay,  which  is  willing  to  pass, 
and  does  constantly  pass,  for  even  less  than  it  is ; and  there 
is  the  laborious  and  pretentious  bad  drawing,  which  is 
popularly  considered  very  good,  and  which  always  escapes 
censure,  except  from  true  students.  Take,  for  instance,  a 
cow,  by  some  popular  cattle-painter,  with  every  bone  in  its 
body  out  of  place,  and  every  joint  so  constructed  that  an 
animal  built  in  that  fashion  could  never  walk  ; these  defects 
will  not  attract  notice  if  only  there  is  a certain  appearance 
of  precision,  a certain  sharpness  of  touch,  and  neat  brushwork 
on  a carefully  imitated  surface.  A cow  by  Daubigny  is  not 
in  reality  more  badly  drawn,  but  then  everybody  sees  its 
shapelessness  at  the  first  glance,  because  Daubigny  has  none 
of  the  tricks  of  the  painter  who  works  for  the  market,  and  in 
the  simplicity  of  a noble  artist-nature  scorns  the  little  artifices 
by  which  ignorance  is  concealed.  The  one  thing  that  he 
aims  at  he  secures  : he  aims  at  unity,  and  he  secures  unity. 
This  unity  of  aspect  is  in  reality  intimately  associated  with 
unities  of  sentiment  and  thought,  and  springs  from  them. 
Daubigny  does  not  think  much,  or  feel  much,  about  the  cow 
and  the  branch  : it  is  the  whole  landscape  which  charms  and 
attracts  him ; and  in  his  actual  work  his  attention  never 
quits  the  picture  to  apply  itself  to  this  or  that  portion  of  his 
materials. 

The  rough,  and  apparently  “ unfinished,”  etchings  of 
Daubigny  may  seem  easy  to  the  inexperienced,  and  a certain 


DAUBIGNY. 


197 


proportion  of  them  are,  no  doubt,  failures,  even  if  considered 
strictly  from  the  artists  point  of  view.  But  if  the  reader 
will  study  those  mentioned  below,  and  then  attempt  to  do 
free  work  in  the  same  sense,  and  with  the  same  direct- 
ness and  simplicity  of  intention  and  method,  he  will  find  the 
task  more  arduous  than  it  perhaps  appears.  The  difficulty 
of  this  simple  and  straightforward  etching  consists  in  its  very 
simplicity  and  straightforwardness.  When  a plate  has 
evidently  been  tormented  and  mended  till  it  came  into  shape, 
there  is  some  hope  that  by  labour  and  correction  we  may 
arrive  at  a like  result ; but  when  these  means  are  forbidden 
to  us  by  the  very  nature  of  the  thing  to  be  imitated,  the 
difficulty  is  greatly  increased.  What  Daubigny  does,  as  an 
etcher,  may  not  seem  at  first  sight  very  astonishing,  but  he 
expresses  himself,  and  he  expresses  himself  at  once.  It  is 
like  apt  and  ready  oratory,  of  which  the  excellence  lies  quite 
as  much  in  promptitude  as  in  power. 

All  this  may  be  said  without  endorsing  the  weakest  and 
most  trifling  etchings  of  Daubigny.  There  are  several  plates, 
for  instance,  in  the  “ Voyage  en  Bateau,”  which  are  too 
trifling  to  be  criticised,  and  in  which  the  facetiousness  of  the 
artist  has  led  to  a momentary  forgetfulness  of  art. 

Voyage  en  Bateau:  le  Dejeimer  a V Auberge. — Five  men 
are  seated  at  table  on  rush-bottomed  stools,  and  under  a 
vine ; they  are  drinking  coffee  and  smoking  pipes  after 
dejeuner.  '(The  first  plate  of  the  series,  and  one  of  the  best.) 
As  a simple  sketch  on  the  copper,  this  may  be  taken  as  a 
model  for  honesty  and  simplicity  of  workmanship.  The 
foliage  of  the  vine  is  not  very  good,  considered  separately 
as  foliage,  but  it  takes  its  place  well  in  the  composition. 
The  etching  holds  well  together,  and  the  relations  of  tone 
are  unexceptionable.  Observe  the  rapid  indication  of  the 
vine  shadow  on  the  wall,  in  free  open  lines  running  in  the 
right  direction.  The  figures  are  true  landscape-painter’s 
figures,  and  drawn  without  pretension. 


DAUBIGNY. 


198 


Voyage  en  Bateau:  la  Recherche  de  V Auberge. — Two 
figures,  one  holding  a lantern,  are  seeking  their  way  in  a 
dark  night.  The  cabin  of  the  boat  is  just  visible  low  down 
to  the  left,  and  there  are  some  dark  houses  to  the  right. 
The  sky  is  cloudy,  but  there  is  subdued  light  in  two  grey 
spaces  behind  the  formless  clouds.  This  is  very  genuine  and 
perfect  work  of  its  kind,  and  there  are  some  very  fine  pas- 
sages. The  various  lights  and  darks  immediately  above  the 
lantern,  and  especially  the  obscurity  near  the  cover  of  it,  are 
amongst  the  finest. 

Voyage  en  Bateau : Daubigny  travaillant  dans  sa  Cabine.  — 
One  of  the  most  interesting,  as  well  as  one  of  the  best,  of  the 
series.  A gleam  of  sunshine  lights  the  canvas  on  which 
Daubigny  is  working,  and  one  or  two  other  canvases  which  are 
leaned  against  the  wall  of  the  cabin.  The  rest  of  the 
plate  is  either  in  shadow  or  more  or  less  illuminated  by  re- 
flection. The  lighting  is  true  and  good,  and  the  use  of  the 
etched  line  everywhere  frank  and  right.  The  reader  may 
amuse  himself  by  enumerating  the  contents  of  Daubigny’s 
little  floating  studio.  They  are  not  luxurious,  and  the  only 
signs  of  self-indulgence  are  a rather  extravagant  supply  of 
onions  and  short  pipes,  and  a coffee-pot.  There  are  also  a 
gridiron  and  a frying-pan,  and  three  wine-bottles.  These, 
with  bare  shelter  and  the  bed  that  is  turned  up  in  the  corner, 
are  ample  materials  for  happiness,  if  only  those  canvases 
get  on  prosperously.  Better  a little  cabin  like  this,  with  the 
satisfaction  of  doing  good  work,  than  the  most  splendid  studio 
in  Paris,  with  an  inward  conviction  of  incapacity.  I would 
rather  be  Daubigny  here,  and  cook  my  own  dinner  and 
make  my  own  bed,  than  be  a certain  Commander  of  the 
Legion  of  Honour  whom  I could  name,  who,  in  his  palace 
of  the  Champs-Elysdes,  is  compelled  by  the  devil  to  paint, 
year  after  year,  with  the  clear  knowledge  that  he  is  a char- 
latan. 

Voyage  en  Bateau:  la  Nuit  sur  la  Rivilre. — The  boat 


DAUBIGNY. 


i99 


is  to  the  left  of  the  etching,  lighted  by  a lantern.  The 
opposite  shore  is  dimly  visible,  and  both  sky  and  water  are 
covered  with  dark  shading.  There  is  nothing  here  but  a 
sentiment ; and  if  the  mind  of  the  reader-  is  inaccessible  to 
that  sentiment,  the  etching  for  him  will  be  meaningless  and 
absurd.  In  that  case  let  me  beg  him  to  pass  it  without 
bitterness  of  condemnation.  The  present  writer’s  experiences 
of  boats  and  tents  give  him  the  key  to  Daubigny’s  motive. 
The  little  cabin  is  alone  on  the  dark  water,  under  the  dark 
sky ; the  shore  is  formless,  vague,  impenetrable.  The  only 
shelter  is  in  that  tiny  floating  house  ; the  only  light  from  the 
candle  in  that  lantern. 

Voyage  en  Bateau:  les  Aides. — A lot  of  children  with 
a small  four-wheeled  waggon  take  Daubigny’s  things  for  him 
to  the  boat.  A sketch  of  this  kind  opens  the  great  question 
whether  landscape-painters  ought  to  attempt  figure-subjects 
or  not.  These  figures  have  no  pretension  to  correct  draughts- 
manship, and  yet  severe  figure-painters  are  delighted  with 
them.  This  may  be  explained  by  the  fact  that,  if  there  is 
little  power,  there  is  still  less  pretension.  The  artist  does 
not  pretend  to  draw  the  figure  otherwise  than  as  he  has  been 
always  accustomed  to  draw  it  for  the  enlivenment  of  his  land- 
scapes. The  children  are  beautifully  grouped,  and  the 
action  of  the  boy  in  front  is  free  and  lively. 

Parc  a Moutons  : le  Matin  (A  large  plate  which  appeared 
in  the  first  number  of  the  French  Etching  Club’s  publica- 
tion).— The  subject  is  the  inside  of  a sheep-fold  at  early  morn- 
ing, the  dawn  brightening  on  the  horizon  above  the  level  line 
of  paling  which  crosses  the  etching  from  side  to  side.  There 
are  a few  low  trees  and  a little  hut  on  wheels,  with  a low 
Bwelling  in  the  land,  beyond  the  paling,  crowned  by  some 
distant  bushes,  and  a small  windmill  to  the  left.  The  sheep 
are  grandly  grouped,  and  still  seem  heavy  with  sleep.  A 
long  flight  of  birds  is  coming  from  the  east.  The  impression 
conveyed  is  dreary  and  uncomfortable,  with  a good  deal  of 


200 


DAUBIGNY. 


solemn  and  sad  feeling.  The  execution  is  frank  and  appa- 
rently coarse. 

Le  Gtte . — Twelve  cows  are  just  going  to  cross  a broad 
river  with  a herd-boy  behind  them.  A large  tree  extends 
its  branches  over  the  water.  The  opposite  shore  is  bare  and 
uninteresting. 

An  etching  of  this  kind  is  not  to  be  criticised  bit  by  bit ; 
its  one  merit  is  a certain  largeness  of  aspect.  Referring  the 
reader  to  the  earlier  chapters  of  this  book  for  fuller  commen- 
tary on  these  qualities,  I may  say  here  that  the  plate  before 
us  is  valuable  for  its  frankness  and  comprehensiveness,  not 
for  any  accuracy  or  beauty  of  design.  The  cows  are  all  out 
of  drawing,  the  branches  are  ungraceful,  the  foliage  is  ugly, 
the  sky  is  coarse,  and  the  distance  poor ; yet,  in  spite  of  all 
these  faults,  the  etching  is  not  only  a fine  one,  but  one  of  the 
finest  executed  in  this  century.  Directness  of  intention  and 
amplitude  of  aspect  are  perfectly  compatible  with  the  most 
obvious  imperfections  in  parts. 

Les  Vendanges  (this  is  Plate  161  in  the  publication  of  the 
Society  des  A quafor tistes). — It  is  quite  a remarkable  instance 
of  Daubigny’s  obtuseness  and  inaccuracy  as  a draughtsman. 
The  oxen  are  no  more  like  oxen  than  sacks  of  flour,  except 
that  they  are  decorated  with  horns.  The  wheels  of  the  char 
resemble  nothing  so  much  as  very  broad-brimmed  straw  hats 
balancing  themselves  miraculously  on  the  edge  of  their  brims. 
All  the  beauty  of  the  vine  leafage  is  neglected,  and  the 
figures  of  the  vignerons  are  no  better  than  the  oxen.  There 
are  hills  in  the  distance  and  clouds  in  the  sky,  but 
both  hills  and  clouds  are  formless.  And  still  I keep  this 
etching,  and  value  it,  because  it  is  a perfect  harmony  both 
in  sentiment  and  in  tone,  one  of  the  most  absolutely 
harmonious  plates  I know.  The  least  bit  of  accurate  draw- 
ing, or  of  what  engravers  call  “finish,”  in  any  one  detail, 
would  have  ruined  the  whole  work  unless  it  could  have  been 


DA  UBIGJVY. 


201 


carried  out  over  the  entire  extent  of  it.*  It  is  not  to  be 
supposed  that  Daubigny  is  quite  unable  to  draw  a cart-wheel 
or  a cow’s  horn  ; and  when  he  drew  these  in  this  apparently 
puerile  way,  we  may  rely  upon  it  that  he  knew  what  he  was 
about.  The  purpose  of  this  etching  has  been  a certain  unity 
of  aspect,  which  has  been  purchased  by  the  sacrifice  of  many 
truths  which  another  artist  might  have  been  unwilling  to 
surrender. 


* And  even  if  such  finish  had  been  carried  out  over  the  whole  extent  of  the 
etching,  there  would  have  been  a definite  loss  to  set  against  the  gain.  We  should 
not  have  had  what  we  have  now,  but  another  thing  altogether,  not  an  improve- 
ment, but  a substitution. 


CHAPTER  IX, 


APPIAN, 

jV/TY  admiration  for  Appian’s  work  as  an  etcher  (he  is  a 
charming  painter  also)  was  already  great  several  years 
ago,  but  the  more  I see  how  rare  his  qualities  are  in  con- 
temporary art,  or  in  any  art,  the  more  I feel  disposed  to 
value  them.  His  work  is  always  quite  easy  and  graceful  in 
manner,  never  strained,  never  betraying  an  effort,  and  it 
hardly  ever  fails  to  charm  by  a most  delicate  feeling  for  the 
poetry  of  natural  landscape.  The  lightness,  or  the  apparent 
lightness,  of  his  hand  is  such  that  the  wonder  is  how  the 
point  can  remove  the  ground  sufficiently  to  ensure  regularity 
of  biting ; were  he  sketching  with  a silver  point  on  unglazed 
porcelain  the  touch  could  hardly  be  more  aerial.  Although 
in  etching  a real  equality  of  pressure  is  an  unfortunate 
necessity,  the  proof  ought  to  produce  the  illusion  that  the 
etcher  has  played  piano  or  forte  just  as  he  pleased,  and  in 
the  best  of  Appian’s  etchings  this  illusion  is  complete. 
Another  good  quality  in  his  work  is  that  each  plate,  however 
large  or  however  small  it  may  be,  is  conceived  from  the  first 
as  a whole,  and  the  first  conception  is  never  departed  from 
for  the  disproportionate  realisation  of  some  obtrusive  detail. 
It  would  be  easy  to  criticise  little  bits  of  his  work  by  taking 
them  separately,  easy  to  say  that  he  does  not  draw  a leaf  or 
a blade  of  grass,  a kind  of  criticism  the  more  specious  that 
it  affects  to  proceed  from  a superior  accuracy  of  knowledge ; 
but  the  answer  is  that  Appian  sees  always  in  masses,  and 
gives  quite  as  much  detail  as  is  consistent  with  the  preserva- 


APPIAN. 


203 


tion  of  the  mass.  His  drawing  of  branches  and  sprays,  for 
example,  whenever  they  happen  to  come  clearly  against  what 
is  behind  them,  is  always  perfectly  delightful,  and  quite  as 
much  detailed  as  it  need  be,  with  light  and  shade  hinted  at  or 
expressed  almost  to  the  very  extremity  of  a twig.  So  truly 
does  he  interpret  the  character  of  trees,  especially  of  denuded 
trees  in  late  autumn,  with  a few  leaves  lingering  here  and 
there,  that  in  nature  they  remind  me  more  frequently  of 
Appian  than  of  any  other  landscape-painter.  Anybody 
whose  eye  is  accurate  may  in  course  of  time  draw  branches 
and  sprays  with  a photographic  truth  of  detail,  accompanied 
by  that  tightness  and  hardness  of  execution  which  are  so 
common  in  the  works  of  the  younger  English  painters;  and 
it  is  not  very  difficult,  on  the  other  hand,  to  get  masses 
tolerably  right  in  tone  when  drawing  is  altogether  abandoned  ; 
but  rare  indeed  is  the  combination  of  delicate  drawing  with 
due  attention  to  the  large  pictorial  relations  ; rare  indeed  is 
the  good  taste  which  can  suggest  a beautiful  detail  exactly 
where  it  is  needed,  without  ever  making  it  too  obtrusive  or 
too  conspicuous.  It  would  be  an  injustice  to  limit  this  praise 
to  Appian’s  execution  of  trees,  though  it  is  here  that  the 
elegance  of  his  taste  is  most  evident.  He  is  fond  of  rocks 
and  stones,  and  makes  them  substantial  enough  (in  his 
pictures  the  rock-texture  is  always  as  good  as  it  can  be),  but 
nobody  can  make  a rock  elegant.  The  finest  of  all  Appian’s 
qualities,  however,  is  a certain  poetry  of  sentiment  which 
pervades  his  subjects,  especially  his  river-subjects  under  even- 
ing light.  In  these  he ‘becomes  truly  the  artist-poet,  and,  as 
there  is  a perfect  harmony  between  the  dreamy  sentiment 
and  the  effortless  execution,  the  effect  of  the  work  is  marred 
by  no  harsh  accent. 

1.  A large  plate,  the  engraved  surface  of  which  measures 
14J-  inches  by  8-J-,  the  copper  being  very  much  larger.  The 
subject  is  a rocky  river-bed  in  summer  when  the  stream  has 
ceased  to  flow.  A man  on  the  right  is  drawing  a net  from 


204 


APPIAN. 


a deep  pool.  In  the  right  centre  of  the  composition  is  a 
bridge  with  two  arches,  and  to  the  left  there  are  great  over- 
hanging masses  of  rock  which  cast  broad  shadows. 

This  is  a very  fine  study  of  rocks  and  little  else.  The 
figure  and  net  are  beautifully  introduced,  and  both  water 
and  sky  are  well  treated,  but  not  important,  except  as  quiet 
spaces  with  a little  variety  in  them.  The  beetling  masses 
of  rock,  with  their  vast  shadows,  are  everything  in  the 
picture,  and  are  studied  with  much  thoroughness,  fractures 
and  all.  Rocks  are  not  generally  a very  grateful  subject  of 
study.  They  stand  still  to  be  drawn,  which  is  something, 
and  they  afford  fine  shadows,  but  it  is  always  extremely 
difficult  to  make  them  interesting.  The  interest  of  this 
rocky  river-bank  lies  in  the  fact  that  the  huge  stony  masses 
overhang  and  seem  to  threaten. 

2.  A plate  about  the  same  size  as  the  preceding.  It  is 
a study  of  a more  open  stream  with  small  rocks.  The  rising 
bank  to  the  left  is  covered  with  copsewood,  out  of  which  rise 
two  young  trees  (oaks  apparently,  at  least  the  nearer  one) 
almost  entirely  denuded  of  their  leaves.  In  the  distance  is 
a rising  land,  with  two  cottages  to  the  right.  There  are 
clouds  in  the  sky.  In  the  foreground  are  ducks  and  a drake 
flapping  his  wings. 

This  is  one  of  the  most  masterly  of  Appian’s  etchings  in 
execution,  and  so  harmonious  in  tone  that  I conclude  it 
must  have  been  done  from  one  of  the  artist’s  pictures.  The 
sky  and  distance  are  delightful  in  quality,  the  sky  apparently 
sketched  in  dry  point,  and  the  bur  removed.  The  distance, 
which  is  bitten,  has  almost  the  softness  of  oil.  The  foreground 
of  course  is  much  more  strongly  accented,  with  black  shades 
here  and  there.  The  reader  may  observe  with  advantage 
the  art  with  which  the  water  is  shaded,  its  lightest  space 
being  small  and  very  central,  and  the  skilful  management  of 
what  is  intended  to  be  distinct  and  what  is  intended  to  be 
confused.  The  drake,  for  instance,  and  the  tree  to  the  left 


APPIAN. 


205 


are  distinct  things  amidst  a good  deal  of  delightful  mystery 
and  confusion,  and  both  are  very  beautifully  drawn. 

3.  Souvenir. — Easily  recognised  by  a windmill  in  the 
middle.  To  the  right  of  this  is  a sailing  boat,  to  the  left 
another  windmill.  On  a rocky  bank  to  the  right  is  a build- 
ing with  a low  tower,  like  a remnant  of  feudal  times.  All 
this  material  is  reflected  in  calm  water. 

Nothing  is  more  difficult  than  the  treatment  of  the  sky 
in  etching,  and  the  best  way  generally  is  to  leave  the  open 
sky  quite  blank,  preserving  thus  its  serenity  at  the  expense 
of  its  gradation.  If  any  shading  is  attempted  it  must  not 
be  mechanical,  which  would  be  fatal  to  the  harmony  of  the 
plate.  In  the  present  instance  the  sky  is  shaded  in  fine 
taste  with  strokes,  generally  horizontal  in  tendency,  but  never 
stiffly  horizontal.  As  the  sky  is  lightly  bitten  the  effect  is 
good. 

4.  Au  Valromey  (Ain). — A little  stream,  with  rocks  and 
trees,  and  the  slope  of  a rocky  hill. 

Some  of  the  shadows  here  are  overbitten,  especially  one 
to  the  left,  which  is  far  too  black.  The  quality  of  the 
foliage,  wayward  sprays  and  branches,  rocky  ground  and 
sky,  is  delightful. 

5.  A very  small  plate,  the  engraved  portion  measuring 
4%  inches  by  2-|  inches.  The  subject  is  a country  path  or 
wild  road,  with  a single  figure  coming  towards  the  spectator. 
Behind  the  figure  is  a group  of  poplars  and  other  trees,  lower 
and  more  massive.  To  the  right  is  a rising  ground  ; to  the 
left  a pond,  with  land  rising  behind  it.  The  sky  is  lightly 
shaded,  and  a few  clouds  are  sketched  near  the  horizon. 
The  signature  is  in  the  upper  left-hand  corner,  with  the  date 
1865. 

This  little  etching  is  one  of  the  best  examples  of  Appian’s 
charming  way  of  treating  what  is  generally  thought  common- 
place and  uninteresting  scenery.  Out  of  the  undulations  of 
a country  which  is  only  just  not  perfectly  level,  with  a few 


206 


APPIAN. 


poplars  and  a pond,  he  makes  a little  gem  of  landscape,  to 
be  treasured  and  remembered. 

7.  Une  Mare.  Environs  de  Rossillon. — One  end  of  a 
solitary  pool  of  water  in  rough  ground.  A stork  is  standing 
by  the  pool,  and  there  are  wild  stems  and  branches  in  the 
upper  part  of  the  composition,  which  is  an  upright  one.  In 
the  left-hand  upper  corner  is  the  signature  of  the  artist,  with 
the  date  1867. 

This  has  always  seemed  to  me  the  most  exquisite  piece 
of  free  branch  and  stem  drawing  in  the  whole  range  of  French 
etching.  It  is  this,  and  much  more  than  this ; for  not  only 
are  the  trees  full  of  an  inexpressible  waywardness  and  grace, 
but  the  whole  work — -the  bit  of  rocky  bank,  the  little  inlet 
of  calm  water,  the  sweet  distance,  and  the  delicate  sky ; all 
this  material  forms  a perfect  harmony,  presented  to  us  with 
the  true  passion  of  a tender  and  sensitive  artist.  No  one 
but  an  artist  can  know  how  much  this  little  place  must 
have  been  loved  before  it  could  be  etched  so. 

8.  Marais  de  la  Burbanche  (Ain). — In  the  middle  of  the 
composition  is  a rock  or  big  boulder-stone,  with  smaller 
stones  to  the  right,  and  similar  ones  in  the  distance.  Near 
the  central  one  is  some  light  foliage.  To  the  left  the  ground 
rises  suddenly  in  a steep  bank.  There  is  water  in  the  fore- 
ground resembling  a calm  pool  in  a stream,  and  by  the 
water  are  three  storks.  The  sky  is  lightly  clouded,  and 
in  the  left-hand  upper  corner  is  the  date  1868  after  the 
artist’s  signature.  The  general  effect  is  that  of  a calm 
evening. 

One  of  the  loveliest  and  most  perfect  bits  of  quiet  land- 
scape of  a melancholy  kind  I ever  met  with.  Nothing  can 
be  more  harmonious  than  this  etching,  it  affects  the  mind 
like  music. 

9.  Un  Soir  Bord  du  Rhone  a Rix  (Ain). — One  bank  of 
the  Rhone  only  is  seen,  with  hills  beyond,  which  are  reflected 
in  the  calm  water.  A boat  is  just  coming  to  land  with 


APPIAN. 


207 


figures  and  small  animals  (sheep,  I think).  The  sky  is 
charged  with  rain-clouds.  Dated  1869. 

Fine  in  feeling  and  quite  masterly  in  execution.  One  of 
those  scenes  which  ought  to  make  anybody  a poet,  at  least 
until  the  last  light  has  died  out  of  the  west,  and  the  shining 
river  is  finally  darkened  for  the  night.  I like  the  sobriety 
which  can  abstain  from  exaggeration  of  the  hills — they  have 
truly  the  hill-poetry  and  not  the  mountain-poetry,  which  is 
very  different. 

1 o.  U11  Soir  d'Automne  Environs  de  Rossillon. — A reach 
of  a narrow  calm  river  with  boats  close  to  the  land,  and  a 
figure  in  one  of  them  ; the  ground  is  nearly  flat,  but  rises 
gently  to  the  left,  where  there  are  trees.  The  distance  is 
dark  and  very  mysterious.  The  sky  is  clouded,  and  the 
plate  is  dated  1874. 

The  kind  of  poetry  with  which  this  etching  is  charged  as 
fully  as  black  and  white  art  ever  can  be  is  quite  peculiar  to 
our  century.  Painters  have  felt  the  charm  of  twilight  from 
the  early  days  of  their  art  in  Italy,  but  it  was  another  charm 
than  this.  It  was  the  richness  and  peace  of  twilight  which 
they  loved,  the  deep  golden  glory  of  it,  if  that  can  be  called 
glory  which  has  no  radiant  splendour,  but  only  a wondrous 
glow,  suffusing  everything  with  that  warmth  of  colour  which 
fills  the  air  on  a southern  summer  eve.  Here  we  have  the 
poetry  of  another  twilight, — of  grey  clouds,  and  purple 
distances,  and  red  leaves  darkening  in  the  brown  of  the 
nearer  woods,  the  sad  twilight  after  rain  in  autumn,  when  all 
the  earth  is  wet  and  chilled,  and  the  pools  in  the  marshes 
fill.  Here  am  I writing  of  colour  as  if  the  print  before  me 
were  not  in  mere  black  printing-ink,  which  I suppose  it  must 
be  chemically,  but  it  brings  the  colouring  of  such  a scene  as 
vividly  before  the  “ inward  eye  ” as  a picture  to  the  actual 


sense. 


CHAPTER  X, 


CHIFFLAR  T. 

JN  the  first  edition  of  this  book  Chifflart  was  not  studied 
in  a separate  chapter,  but  had  only  a paragraph  amongst 
minor  etchers.  A more  extended  notice  appears  to  be  due 
to  him,  because  his  plates  are,  at  the  same  time,  very  original 
in  conception,  and  very  pure  examples  of  a particular  kind 
of  technical  work  in  etching.  He  is  far  indeed  from  being 
faultless,  and  is  not  at  all  what  a severe  and  prudent  critic 
would  recommend  as  a “safe  man,”  but  with  all  his  errors 
he  has  really  something  to  express,  and  expresses  it  with  the 
utmost  directness.  Suppose  a man  of  active  and  wild  imagi- 
nation, who  sits  down  with  a large  copper  before  him,  waits 
a little  till  a scene  or  an  action  presents  itself  to  the  inward 
eye,  and  then  sketches  it  as  quickly  as  possible  on  the  copper 
itself  without  any  intermediate  memoranda,  before  the 
imaginative  conception  has  lost  anything  of  its  vividness. 
This  is  Chifflart’s  manner  of  working,  at  least  in  the  plates 
I intend  to  speak  of  here  ; and  now  let  me  say  something  that 
needs  to  be  said  about  the  way  in  which  criticism  ought  to 
deal  with  work  that  is  so  produced.  It  would  be  most 
unjust  to  require  from  it  the  qualities  which  belong  to 
thoughtful  and  painstaking  labour,  which  gives  days  or  weeks 
to  the  elimination  of  its  own  errors.  The  model  is  not  called 
in  that  the  artist  may  correct  the  mistakes  of  his  memory 
and  imagination  by  a reference  to  nature,  nor  does  he  finish 
his  shading  any  more  perfectly  than  his  design,  for  if  he  did 
there  would  be  one  of  those  executive  contradictions  which 


CHIFFLART. 


209 


destroy  the  harmony  of  art.  If  one  of  these  hurried  impro- 
visations, in  which  the  forms  are  all  confessedly  imperfect, 
were  to  be  shaded  as  Le  Rat  would  shade  a finished  head 
after  Bellini,  the  result  would  be  unendurable.  Chifflart  is  far 
too  completely  the  artist  to  tolerate  the  slightest  approach  to 
false  finish*  of  any  kind  ; therefore,  when  he  improvises,  he 
shades  just  as  he  draws,  hewing  out  the  forms  by  means  of 
shadow,  but  no  more.  The  drawing  is  everywhere  inaccurate, 
yet  not  more  inaccurate  than  the  drawing  in  the  hasty  sketches 
of  the  great  masters.  That  of  Rembrandt  is  often  equally 
imperfect,  that  of  Michael  Angelo  occasionally.  Michael 
Angelo’s  rough  sketch  of  the  “ Fall  of  Phaeton  ” is  even  more 
shapeless,  especially  in  the  animals  (which  have  puddings  for 
bodies,  with  impossibly  small  heads  and  legs  all  out  of  pro- 
portion), than  the  worst  of  Chifflart’s  sketches. 

I.  Surprise. — Six  horsemen  surprised  by  lionesses.  The 
men  are  naked,  but  armed  with  spear  and  bow.  One  horse 
and  man  are  down,  under  the  feet  of  the  others.  A lioness 
has  seized  the  man  on  the  nearest  horse,  whose  companion  is 
attempting  his  deliverance.  His  horse,  in  turn,  is  attacked  by 
another  lioness,  which  two  riders  are  going  to  spear.  An 
archer  on  horseback  is  aiming  at  a lioness  bounding  through 
the  air. 

Grandly  composed  and  full  of  movement.  The  energy  of 
the  action  will  seem  over-strained  to  a cool  spectator  who 
does  not  realise  the  scene ; and  everything  is  indeed  over- 
accentuated in  the  drawing,  but  it  is  grand  genuine  work,  full 

* What  I mean  by  false  finish  is  a superficial  finish  applied  to  anything  which 
has  not  yet  been  prepared  to  receive  it.  It  would  be  false  finish  to  polish  a statue 
before  it  had  been  hewn  into  the  proper  shape.  It  is  false  finish  in  painting  to 
attend  to  surface  before  you  have  got  things  into  their  places.  It  is  false  finish  in 
education  to  advance  to  subtle  and  delicate  distinctions  before  broader  and  simpler 
ones  have  been  fully  apprehended.  In  the  work  of  mechanics  the  file  precedes 
emery  paper,  and  a coarse  file  precedes  a fine  one.  The  only  finish  which  is  worth 
anything  is  that  which  comes  when  everything  has  been  prepared  for  it ; then  it  is 
well  worth  having,  if  rightly  applied,  both  in  etching  and  other  arts. 

P 


210 


CHIFFLART. 


of  right  abstraction,  and  so  honest  that  the  most  glaring 
mistakes  have  been  corrected  without  effacing,  the  consequence 
being  that  a man’s  wrist  is  in  two  positions  at  once,  and  one 
lioness  has  four  ears.  Men  and  animals  are  full  of  expression. 
The  nearest  horse  is  mad  with  fear,  the  men  are  full  of  valour, 
the  wild  beasts  eager,  agile,  ferocious. 

2.  Un  Jour  de  Recompense. — A classical  distribution  of 
rewards,  seen  from  a grotesque  point  of  view.  A struggling 
crowd  is  fighting  its  way  up  to  the  temple  of  Fame,  where  a 
radiant  priestess  is  holding  out  laurel  crowns,  whilst  trumpeters 
blow  their  trumpets.  Raised  high  above  the  contending 
crowd,  laurelled,  white-robed,  and  holding  palms  in  their 
hands,  sit  the  few  who  have  been  successful.  The  unsuccess- 
ful are  either  elbowing  and  crushing  each  other,  or  else 
abandoning  the  contest  with  vacant  or  dejected  faces. 

This  is  so  sketchy  that  you  can  hardly  make  the  figures 
out,  but  it  is  full  of  grim  humour.  The  faces  of  the  stupid 
bloated  man,  and  the  thin,  peevish,  disappointed  man,  who 
have  abandoned  the  contest,  are  both  capital. 

3.  The  Sarcophagus. — A classic  sarcophagus  in  a grove, 
with  a meagre,  sad-faced  man  seated  and  leaning  upon  it ; 
another  behind  showing  his  naked  shoulders  ; and  a third  on 
the  sarcophagus  itself ; this  last  perhaps  supposed  to  be  carved 
in  marble. 

The  seated  figure  is  very  finely  conceived,  and  the  whole 
composition  is  powerful.  The  shoulder-blade  of  the  man 
behind  is  unpleasantly  salient,  but  the  thinness  of  the  seated 
figure  is  not  without  grandeur.  The  plate  is  simply  and 
powerfully  bitten. 

4.  Plutus. — A hideous  figure  is  scattering  coins  from  a 
horn  of  plenty.  I think  this  is  not  Plutus,  but  only  his 
minister ; the  god  must  be  the  personage  lightly  outlined  in 
the  upper  sky,  who  holds  a scourge  in  his  right  hand  with 
extended  arm.  Men  are  praying  and  fighting  for  the  coins  ; 
one  is  stabbing  another ; strong  men  are  wrestling  on  the 


CHIFFLART. 


211 


ground  where  the  gold  is  scattered  ; women  are  exposing  their 
bodies.  A mask,  which  has  fallen  off,  is  lying  on  the  ground. 

This  plate  certainly  exhibits  some  of  the  worst  effects  of 
the  struggle  for  wealth,  but  it  is  incomplete,  morally,  by  its 
omission  of  the  good  effects.  The  desire  for  gold  does  not 
only  produce  murder  and  fornication,  but  also  many  an 
honourable  industry  and  many  a marvellous  art. 

5.  Perseus  and  Andromeda. — Perseus  is  just  driving  his 
lance  into  the  monster,  and  Andromeda,  naked,  with  flowing 
hair,  is  still  fastened  to  the  rock  by  her  wrists.  The  action  of 
Perseus  is  fine  but  not  new.  The  beast  is  suitably  heavy  and 
monstrous,  something  between  a bear  and  a hippopotamus. 
The  bending  of  the  lance  is  a good  idea.  Andromeda  is 
heavy  and  ungraceful,  the  left  leg  especially  shapeless  from 
the  knee  to  the  foot.  Surely  Perseus  would  never  have  asked 
Cepheus  to  let  him  marry  such  an  Andromeda  as  that. 

6.  Perseus , having  slain  Medusa , holds  out  her  severed  head. 
— The  right  foot  is  on  the  gorgon’s  body,  the  left  on  a plateau 
of  rock.  Perseus  is  sheathing  his  sword  with  his  left  hand. 

This  is  the  best  and  most  thoroughly  studied  figure  amongst 
the  improvisations,  but  it  is  a pose  which  the  etcher  may  have 
studied  in  nature  previously,  and  remembered.  It  is  a good 
instance  of  a simple  way  of  treating  the  naked  figure  when 
truth  of  texture  is  not  aimed  at.  The  texture  here  is  rather 
that  of  bronze  than  of  flesh.  It  is  possible  that  some  readers 
may  conclude  from  this  and  other  plates  that  etching  cannot 
render  flesh  texture,  but  this  would  be  an  error.  In  hasty 
sketching  it  is  very  difficult  to  convey  the  idea  of  texture  if 
you  shade  enough  to  indicate  the  modelling,  because  any 
coarse  or  hard  shading  ruins  it  at  once.  The  best  way  is  to 
leave  white  paper  to  do  duty  for  flesh  as  much  as  possible 
when  you  have  not  time  to  shade  delicately. 


CHAPTER  XI. 


LALAUZE,  VEYRASSAT,  MARTIAL. 

JYJ  ADOLPHE  LALAUZE  is  one  of  the  most  skilful 
original  etchers  in  the  modern  French  school,  but  he 
has  not  yet  produced  very  much.  The  best  of  his  works  are  a 
little  series  of  ten  plates  entitled  Le  Petit  Monde , representing 
the  occupations  and  amusements  of  children.  We  learn  from 
a preface  by  M.  Montrosier  that  the  artist’s  own  children  were 
the  models  from  which  he  drew,  so  that  he  worked  with  a 
double  affection,  the  artistic  and  the  paternal  in  one.  The 
result  is  very  charming,  the  little  incidents  are  really  such  as 
occur  in  child-life,  and  they  are  presented  with  the  most 
accomplished  skill.  There  are  two  little  girls  and  a baby, 
besides  a doll  and  a dog.  The  incidents  all  take  place  at 
home,  in  a pretty  French  appartement  with  polished  inlaid 
floors  and  tasteful  furniture,  which  is  all  lovingly  studied  as 
so  much  still-life,  though  in  due  subordination  to  the  figures. 
Most  of  the  little  groups  are  prettily  composed,  and  one  or 
two  quite  beautifully.  Amongst  the  incidents  are  such  subjects 
as  the  “Drawing  Lesson,”  the  “Music  Lesson”  (in  which  we 
see  nobody  but  the  two  little  girls,  studying  as  earnestly  as 
possible),  “ Baby’s  Soup  ” (an  administration  of  soup  to  the 
young  gentleman),  “Baby  is  very  good”  (in  which  baby  is  in 
his  cot,  and  one  of  his  sisters  amuses  him  with  a bunch  of 
currants,  whilst  the  other  plays  on  the  mirlitoii).  All  these 
plates  are  treated  with  the  most  perfect  technical  mastery, 
combining  great  ease  of  manner  with  a brilliant  truth  of  both 
texture  and  tone.  The  last-named  plate  especially  is  a fine 


LALAUZE , VEYRASSAT,  MARTIAL. 


213 


one,  beautifully  composed,  and  full  of  surpassingly  good 
qualities  in  execution.  It  would  be  a great  mistake  to  suppose 
that  because  the  subjects  of  this  little  collection  are  taken 
from  the  nursery,  whilst  the  plates  themselves  are  popular 
with  children,  they  are  unworthy  of  serious  criticism.  On  the 
contrary,  the  artist  has  done  his  best  with  them,  and  made 
them  works  of  art  in  the  higher  sense. 

Veyrassat’s  labours  as  an  etcher  may  be  divided  into  two 
parts — his  copies  from  pictures,  and  his  original  designs  on 
copper.  The  latter  alone  concern  us  in  this  place.  He  has 
etched  a few  rather  large  plates,  such  as  “Le  Bac”  (the  ferry- 
boat), which  are  skilful  and  manly  in  workmanship ; but  by  far 
the  most  delightful  of  all  Veyrassat’s  etchings  are  the  little 
ones.  There  are  ten  or  a dozen  of  them  which  I would  will- 
ingly have  described  in  detail,  were  it  not  that  they  are  all 
executed  upon  precisely  the  same  principles,  and  are  really 
the  same  etching  in  different  forms  ; I mean  that  the  artistic 
problem  to  be  resolved  is  the  same  in  the  different  little  plates. 
It  will  be  enough,  therefore,  to  explain  what  the  problem  is, 
and  to  show  how  the  artist  has  overcome  the  difficulty  of  it  in 
any  one  of  these  instances. 

A great  secret  of  success  in  etching  is  to  keep  the  arrange- 
ments for  chiaroscuro  simple,  and  to  have  a few  kinds  of 
texture  as  different  as  possible  from  each  other,  in  order  to 
obtain  striking  contrasts.  Veyrassat’s  scale,  in  his  small  etch- 
ings, consists  mainly  of  four  notes,  an  intense  black,  for  which 
a black  animal  is  introduced  as  a pretext,  two  middle  tints 
for  earth,  hay-stacks,  loaded  carts,  lighter  animals,  and  part  of 
the  sky,  and  lastly  a very  pale  tint  for  the  sky  alone.  At  the 
top  of  the  scale  the  blank  paper  takes  its  place  as  the  highest 
treble.  Then,  in  textures,  we  have  about  four  textures  kept 
very  distinct,  and  all  equally  well  done.  Black  velvet  in  the 
black  animal,  a coarse  liny  texture  for  foreground  earth  and 
vegetation,  a much  softer  and  closer  texture  for  such  things 
as  hay-carts  at  a little  distance,  and  lastly  a very  fine  delicate 


214 


LALAUZE. , VEYRASSAT,  MARTIAL. 


texture  for  skies.  Now  the  reason  why  these  etchings  are  so 
charming  as  technical  music  is  because  the  artist  has  thoroughly 
mastered  these  few  elements  of  effect,  so  as  to  use  them  in  all 
their  strength  of  contrast,  and  yet  at  the  same  time  in  perfect 
harmony,  and  as  he  works  with  few  and  widely-separated 
means  of  expression,  they  do  not  get  confounded  together  by 
miscalculations  in  the  biting.  It  is  impossible  to  be  more 
judicious  ; the  only  wonder  is  that  such  a skilful  artist  should 
be  so  little  adventurous,  and  rest  contented  with  the  repetition 
of  one  success.  It  remains  to  be  observed  that,  with  reference 
to  natural  truth  and  idyllic  charm,  few  artists  of  the  modern 
rustic  school  have  so'  happily  expressed  themselves.  All 
Veyrassat’s  groups  of  animals  and  peasants  in  the  field  are 
full  of  nature,  and  of  art  also,  the  art  being  successfully  con- 
cealed, except  in  such  very  obvious  points  as  the  perpetual 
contrast  of  a white  horse  with  a dark  one. 

Martial  is  an  etcher  of  extraordinary  industry.  His  collec- 
tion of  etchings  on  old  Paris  contains  no  less  than  three 
hundred  plates,  and  besides  this  great  work,  he  has  published 
several  other  collections,  such  as  the  Salons  of  1865,  1866,  and 
1868,  Paris  in  1867,  Paris  during  the  Siege,  Paris  Burnt,  Paris 
under  the  Commune,  the  Women  of  Paris  during  the  War,  the 
Sailors  at  the  defence  of  Paris,  Les  Prussiens  chez  nous,  etc. 
The  first  etching  I remember  seeing  by  Martial  was  the  “ Porte 
de  la  Sacristie  du  College  a Beauvais ,”  and  that  etching  was  so 
very  conscientious,  besides  being  such  sound  work,  that  I after- 
wards studied  everything  by  the  same  artist  which  happened  to 
come  in  my  way.  There  is  some  very  rich  and  perfect  work  in 
the  Tourelle  de  V Hotel  Schomberg.  In  the  Rue  du  Pantour  St. 
Gervais  the  curious  slope  and  curvature  of  the  old  Parisian 
house-fronts  are  quite  rightly  felt  and  rendered  ; and  in  the 
RiLe  des  Prtcheurs  a gothic  carved  tree  at  the  corner  of  the 
house,  bearing  ecclesiastics  for  fruit,  is  imitated  with  much 
delicacy.  As  might  be  expected  from  the  usual  effects  of 
practice,  M.  Martial’s  labours  have  developed  great  manual 


LALAUZE , VE YRASSA T,  MARTIAL . 


2I5 


skill.  He  has  mastered,  and  mastered  long  ago,  the  technical 
difficulties  of  etching,  so  as  to  express  himself  fully  in  the  art 
without  being  hampered,  as  less  accomplished  men  are 
hampered,  by  the  torturing  sense  that  they  are  saying  less 
than  they  mean,  or  something  else  than  the  thing  they  mean. 
The  fine  arts  are  like  spoken  languages  in  that.  Until  you 
have  become  absolute  master  of  a language,  you  cannot  speak 
it  at  all  without  either  saying  less  than  you  intend  or  something 
else  than  that  which  you  desire  to  say  ; but  a master  expresses 
his  thought  with  simple  precision.  The  technical  skill  of 
Martial  is  extraordinary,  and  a few  years  ago,  before  skill  in 
etching  became  more  general  in  France,  he  had  scarcely  an 
equal  in  this  kind  of  ability.  For  example,  Martial  would  go 
to  a gallery  of  pictures  and  make  sketches  there  in  his  note- 
book, and  afterwards  go  home  and  take  several  large  plates 
of  copper,  and  write  on  the  copper  an  account  of  the  pictures, 
and  illustrate  it  as  he  went  on  by  many  sketches  of  them 
etched  in  the  text,  feeling  quite  sure  that  every  one  of  the 
sketches  would  be  successful.  What  would  happen  to  most 
men  if  they  attempted  such  a feat  would  be  this  : — One  of  the 
sketches  on  each  copper  would  perhaps  be  successful,  and  the 
rest  comparatively  failures  : so  that  to  preserve  the  successful 
bit  it  would  be  necessary  to  cut  all  the  rest  of  the  copper  away. 
Martial’s  Lettre  sur  /’ Eauforte  was  a feat  of  that  kind.  On 
four  large  plates  he  gave  a written  account  of  the  old  process, 
quite  complete  as  to  that  process,  and  illustrated  it  as  he  went 
on,  throwing  a sketch  in  here  and  there,  exactly  where  it  was 
wanted,  and  all  the  sketches  came  quite  right.  Many  another 
feat  of  cleverness  has  he  accomplished.  In  one  of  his  plates 
we  have  a great  Parisian  shop-front,  with  everything  seen 
through  the  windows  exactly  as  things  are  seen  through  plate- 
glass  ; and  the  obscure  interior  of  the  shop  seen  through  the 
open  door:  and  then  the  positive  clearness  of  the  outside  of  the 
house,  with  its  windows,  and  gas-lamp,  and  the  architectural 
decorations  about  the  arched  entrance  at  the  corner,  and  the 


LALAUZE,  VEYRASSAT,  MARTIAL. 


ei6 


local  colour  of  the  paint,  altogether  as  ungrateful  a subject  as 
an  artist  might  be  condemned  to  execute — yet  rendered  with  a 
simple,  straightforward  mastery  over  a hundred  difficulties. 
Another  very  remarkable  etching  of  the  same  class  (though  on 
a smaller  scale)  represented  some  houses  at  the  angle  of  the 
Boulevard  des  Capucines  and  the  Rue  de  la  Paix,  now  demol- 
ished (including  Tahan’s  shop).  In  this  plate,  all  the  relations 
of  light,  and  most  of  the  local  colour  too,  were  given  with  re- 
markable precision,  whilst  the  drawing  was  neat  and  firm,  as 
drawing  must  be  to  deal  successfully  with  modern  street  archi- 
tecture. The  recollection  of  many  other  plates  by  Martial 
enables  me  to  give  an  estimate  of  him  as  an  artist,  which,  as  his 
manner  is  entirely  formed,  will  probably  continue  to  be  accu- 
rate. His  two  best  qualities  are  a brilliantly  clear  conception  of 
facts  and  perfect  manual  skill.  He  has  no  creative  imagination, 
nor  any  tenderness  ; and  therefore  his  work,  though  always 
admirable,  can  never  be  charming  ; never  have  any  hold  upon 
the  heart.  But  notwithstanding  this  restriction,  it  is  eminently 
valuable  work  in  its  own  way,  and  future  students  of  the 
history  of  Paris  will  be,  or  ought  to  be,  very  grateful  for  it. 
This  is  historical  art  in  the  truest  and  best  sense,  genuine 
history  of  what  the  artist  has  witnessed,  first  of  that  old  Paris 
which  Napoleon  III.  demolished,  and  then  of  those  other  and 
more  fearful  demolishings  executed  by  shell  and  flame. 
Centuries  hence  such  records  will  still  be  interesting,  indeed 
the  longer  they  are  preserved  the  more  interesting  will  they 
assuredly  become. 

LALAUZE.  La  Le$on  de  Dessin. — Two  little  girls  are  seated 
before  two  chairs,  and  very  busily  engaged  in  drawing.  This 
etching  deserves  especial  attention  for  its  extreme  refinement 
in  interpreting  the  quality  of  things.  It  quite  belongs  to  the 
highest  class  of  object-study,  that  in  which  imitation  is  not 
slavish  but  artistic  and  intellectual.  The  treatment  of  all 
textures  is  admirable  here,  but  I think  the  golden  glittering 


LALAUZE , VEYRASSAT,  MARTIAL. 


217 


mystery  of  the  picture-frames  is  the  most  unusual  in  the 
degree  of  its  refinement.  Lalauze  truly  sees  as  an  artist,  not 
fixing  his  attention  upon  one  element  of  appearances  to  the 
detriment  of  the  rest,  but  seeing  the  whole  together,  indicating 
just  what  is  really  visible  at  the  distance,  and  not  the  smallest 
detail  more.  A gilt  picture-frame  is  an  excellent  test  of  this 
peculiar  capacity  for  seeing,  since  we  knoiv  far  more  of  the 
construction  of  a frame  than  we  ever  see  at  once,  and  the 
temptation  to  draw  from  knowledge  rather  than  sight  is  very 
strong,  on  account  of  its  far  greater  facility.  The  great 
technical  merit  in  M.  Lalauze’s  work  is  its  surpassing  truth  of 
texture,  and  this  is  not  obtained  at  any  very  great  cost  of 
labour,  but  simply  by  thoroughly  understanding  the  nature  of 
the  appearance  to  be  interpreted.  In  this  plate  we  have  the 
dress  and  hair  of  the  little  girls,  the  oak  parquet  and  chairs, 
and  the  wall  with  the  picture-frames,  all  perfect  in  their  way. 
I hope,  however,  that  the  reader  will  not  conclude,  from  the 
space  just  given  to  praise  good  texture  here,  that  I attach 
more  importance  to  it  than  it  deserves.  It  gives  a great  charm 
to  etching,  and  to  painting  also,  a charm  which  has  never  been 
more  appreciated  than  in  our  own  day,  when  it  is  even  one 
of  the  first  essentials  to  any  considerable  popularity  ; but  there 
has  been  great  etching,  and  great  painting  too,  without  any 
texture  whatever.  A higher  merit  in  M.  Lalauze  is  to  under- 
stand the  nature  of  children  so  perfectly  as  he  does,  and  to  be 
able  to  draw  them  without  falling  short  of  expression  on  the 
one  hand,  and  without  caricaturing  it  on  the  other. 

VEYRASSAT.  Making  a corn-stack. — A tiny  plate  measur- 
3-|  in.  by  2 in.  A cart  with  three  horses  is  near  a stack  and 
unloading.  Three  men  are  on  the  stack  and  one  on  the  cart. 
There  are  two  white  (or  light  grey)  horses,  and  one  dark  horse. 

This  may  be  taken  as  one  of  the  forms  of  the  Veyrassat 
etching.  The  dark  horse  supplies  the  low  note,  the  pale 
cloudy  sky  behind  the  figures  gives  the  treble,  and  the  inter- 


2l8 


LALAUZE. , VRYRASSAT,  MARTIAL. 


mediate  tones  are  supplied  by  the  landscape,  stack,  cart,  and 
upper  sky.  Although  the  plate  is  so  small,  the  texture  of  the 
foreground  is  very  coarse  and  open,  which  affords  a strong 
contrast  with  the  textures  of  the  stack  and  animals,  and  these, 
again,  very  different  from  each  other,  are  both  very  different 
from  the  sky.  It  is  in  fact  a quartett  of  textures  playing  to- 
gether harmoniously,  and  the  difficulty  is  not  so  much  to 
imagine  these  various  modes  of  execution  as  to  make  them 
yield  their  strong  contrast  without  a discord. 

MARTIAL.  Theatre  du  Vaudeville. — A large  plate  repre- 
senting one  of  the  prettiest  street  corners  in  new  Paris.  Pub- 
lished in  1868. 

This  is  a very  good  example  of  the  strong,  clear  realism 
with  which  Martial  interprets  a subject.  All  is  drawn  with 
the  most  perfect  firmness,  and  nothing  shirked.  The  straight 
lines  are  ruled  as  in  mechanical  draughtsmanship,  but  no 
merely  mechanical  draughtsman  could  have  put  in  the  sculpture 
as  it  is  given  here,  nor  the  trees  and  living  figures.  On  the 
other  hand,  it  would  be  difficult  to  find  another  artist  who 
would  patiently  copy  all  the  details  which  Martial  has 
copied,  such  for  example,  as  the  lettering  of  the  signs.  To 
the  right  we  have  Bignon , Glacier , Restaurant  de  Foy  ; to  the 
left  Salons  du  Cafe  Americain ; and  between  these  a great 
number  of  other  inscriptions,  all  as  legible  as  they  would  be 
in  a photograph.  So  the  panels  in  front  of  the  Restaurant 
de  Foy  are  copied  with  perfect  accuracy.  But  although 
details  are  so  strictly  attended  to,  the  plate  produces  a strong 
effect  at  a little  distance  also.  No  etching  conveys  more 
perfectly  the  idea  that  you  are  in  modern  Paris. 

Nobody  could  go  through  such  a piece  of  work  as  this 
without  being  thoroughly  matter-of-fact  in  his  ways  of  seeing 
and  feeling.  It  is  prose  of  the  most  resolute  kind,  without  a 
trace  of  poetry.  All  that  surprises  me  is  that  photography 
should  not  have  prevented  this  kind  of  work  by  doing  it  still 


LALAUZE , VEYEASSAT,  MARTIAL. 


219 


better.  All  that  Martial  attempts  here  the  photograph  can 
do  more  thoroughly  and  completely  still.  And  yet  it  seems 
as  if  so  far  from  discouraging  this  etcher  by  anticipating  his 
peculiar  work,  photography  had  positively  been  accepted  by 
him  as  a teacher.  There  are  evident  signs  of  a photographic 
influence  here,  in  the  black  shadows  under  the  balconies,  for 
instance,  the  black  spaces  in  windows,  etc.,  and  the  black  tree 
near  the  theatre,  all  in  strictly  photographic  chiaroscuro.  The 
reader  will  understand,  however,  that  I have  not  selected  this 
plate  as  showing  the  limits  of  M.  Martial’s  abilities,  but  his 
exceptionally  matter-of-fact  temper.  There  are  a hundred 
plates  of  his  which  show  more  delicacy,  and  many  which  give 
proof  of  a more  desirable  kind  of  power. 


CHAPTER  XII. 


VARIOUS  FRENCH  ETCHERS. 

QUEYROY,  COROT,  BRACQUEMOND,  GAUCHEREL,  FEYEN- 
PERRIN,  LEGROS,  BRUNET-DEBAINES,  DE  ROCHEBRUNE, 
CHAUVEL,  CHAIGNEAU,  ABRAHAM,  VILLEVIEILLE,  BAL- 
FOURIER,  SOUMY,  DE  LONGUEVILLE,  BALLIN,  LANCON, 
DETAILLE,  DE  NEUVILLE. 

AVING  studied  in  some  detail  a few  of  the  more 
eminent  French  etchers,  I now  find  myself  restricted, 
by  the  limits  of  this  volume,  to  a simple  mention  of  the 
others,  and  of  some  of  their  principal  works.  It  may  easily 
happen  that  artists  thus  hastily  alluded  to  may  in  future 
years  distinguish  themselves  more  than  they  have  hitherto 
had  time  or  opportunity  for  doing,  and  so  deserve  separate 
chapters  in  some  future  treatise  on  the  art,  written  by  another 
critic  who  will  have  the  advantage  of  seeing  our  age  from  a 
greater  distance.  It  is  always  difficult  to  be  strictly  just,  and 
in  this  case  the  difficulty  is  greatly  complicated  by  the  fact 
that  etchers  have  had  to  be  selected  quite  as  much  because 
their  plates  were  striking  examples  of  very  different  styles  of 
work  as  for  qualities  which  may  be  considered  meritorious. 
The  activity  and  energy  of  the  French  school  are  so  great 
that  every  year  adds  new  names  to  the  list,  and  every  year 
some  etcher  already  known  to  the  public  finds  his  relative 
position  altered,  either  by  his  own  labour  or  the  labours  of 
his  contemporaries.  It  is  therefore  utterly  impossible  to  give 
an  account  which  shall  remain  permanently  true  of  a school 


VARIOUS  FRENCH  ETCHERS. 


22  J 


which,  being  full  of  life,  has  life’s  incessant  transformations. 
When  etching  was  a dead  art  it  was  possible  to  sit  down  and 
give  a systematic  and  proportionate  account  of  its  past  his- 
tory, but  now  that  it  is  alive  again,  and  more  vigorously  alive 
than  ever  it  was  before,  the  history  which  is  complete  when 
written  will  be  behind  the  age  a year  after  publication.  It  is 
as  unsatisfactory  in  this  respect  as  a “ Dictionnaire  des  Con - 
temporains ” 

The  transition  from  amateur  to  artist  is  always  a very 
difficult  one  to  accomplish,  even  when  there  are  perfect  leisure 
and  liberty  for  study,  accompanied  by  an  industry  not  to  be 
discouraged.  About  fifteen  years  ago  M.  QuEYROY  was  an 
amateur,  but  by  hard  work  and  perseverance,  accompanied 
by  the  kind  of  talent  which  consists  rather  in  seeing  things 
clearly  as  they  are  than  in  the  gift  of  invention,  he  has  become 
an  artist  of  considerable  skill.  The  etching  of  his  which,  on 
the  whole,  is  the  finest,  is  a large  plate  of  Lockes.  This  plate 
is  good,  especially  for  its  breadth  of  light-and-shade,  and  its 
noble  simplicity  of  treatment.  The  near  dark  tower  to  the 
left  is  as  grand  as  it  can  be,  and  the  water  is  very  good  and 
true,  but  there  is  a trace  of  old  amateur  practice  in  the  fine 
old  gateway  which  is  glaringly  out  of  drawing  on  account  of 
its  bad  perspective.*  M.  Queyroy  does  not  seem  to  have 
studied  perspective  scientifically,  which,  for  the  representation 
of  architecture,  is  an  omission  much  to  be  regretted.  Another 
thing  which  I observe  in  this  generally  noble  plate  of  Lockes 
is  that  the  etcher  has  been  too  ready  to  substitute  straight 
lines  for  what  in  the  reality  would  be  varied  or  interrupted 
lines.  For  example,  the  roof  of  the  old  gateway  and  that 
of  the  round  tower  nearer  to  the  foreground  are  both  outlined 
with  straight  lines ; in  the  real  thing  they  would  certainly 
have  been  broken  by  the  tiles,  and  very  probably  also  in- 

* The  side  of  the  gateway  which  is  in  shade  is  nearly  right.  That  which  is 
lighted  is  altogether  wrong,  because  the  lines,  if  prolonged,  would  never  reach 
what  ought  to  be  the  vanishing  point. 


222 


VARIOUS  FRENCH  ETCHERS. 


fleeted  by  the  yielding  of  the  woodwork  under  them.  Mr. 
Ernest  George  has  drawn  the  same  gate,  and  gives  it  a very 
picturesque  outline,  perhaps  exaggerated  ; but  if  so,  exagge- 
rated in  the  artistic  direction  as  this  in  the  mechanical.  The 
tendency  to  ruled  lines  in  M.  Queyroy’s  manner  is  also  very 
marked  in  his  vast  plate  of  the  magnificent  House  of  Jacques 
Cceur  at  Bourses,  which  is  quite  an  architect’s  rendering  of  a 
building — clear  and  good  of  its  kind,  yet  not  like  the  etching 
of  painters.  Notwithstanding  these  criticisms,  however,  which 
I print  merely  because  they  may  be  of  some  use  in  directing 
the  attention  of  other  etchers  to  possible  causes  of  imperfec- 
tion which  may  be  very  easily  avoided,  I am  far  indeed 
from  undervaluing  M.  Queyroy’s  work.  His  etchings,  already 
very  numerous,  will  possess  a lasting  interest  as  records  of 
old  France.  He  is  always  animated  by  an  honest  love  of  his 
subject ; he  has  also  quite  sufficiently  overcome  the  diffi- 
culties of  art  to  express  himself  with  perfect  clearness.  The 
Rue  des  Arbtes  at  Bourges  is  one  of  M.  Queyroy’s  most  per- 
fect plates.  The  Rue  des  Arenes  is  an  old  street  with 
tourelles , and  both  mediaeval  and  modern  houses,  which  M. 
Queyroy  has  etched  with  equal  care — rather  too  equal  care, 
perhaps.  He  introduces  figures  well,  not  hesitating  to  draw 
them  on  rather  a large  scale  in  his  more  important  plates, 
and  grouping  them  very  naturally. 

I have  never  been  a believer  in  the  theory  (rather  com- 
monly received  amongst  painters)  that  anybody  who  can  paint 
can  also  etch  if  he  will  only  condescend  to  do  so.  Etching  is  a 
most  peculiar  art  in  many  respects,  and  even  the  simplest 
forms  of  it  are  not  so  simple  as  they  look,  for  it  is  as  difficult 
to  make  a simple  thing  look  brilliant  and  effective  as  it  is  to 
get  at  effect  by  great  labour.  It  is  a great  help,  no  doubt, 
for  an  etcher  to  be  a good  painter  before  he  sets  to  work  on 
the  copper,  because  a good  painter  understands  drawing  and 
light-and-shade,  which  are  the  foundation  of  all  graphic  art ; 
nevertheless  it  must  be  allowed  that  great  painters  sometimes 


VARIOUS  FRENCH  ETCHERS. 


223 


etch  a little  too  condescendingly,  and  take  up  the  needle  less 
in  the  spirit  of  a student  who  has  to  learn  a new  and  difficult 
art,  than  in  the  spirit  of  a strong  man,  accustomed  to  heavy 
weights,  who  by  chance  has  to  carry  a light  one.  The  most 
extreme  instance  of  this  is  the  landscape-painter  COROT.  As 
he  is  a very  celebrated  artist,  somebody  persuaded  him  to 
etch,  and  the  consequence  was  that  he  sketched  on  the  copper 
as  if  he  had  been  making  a pocJiade  with  the  brush.  Now,  in 
oil-painting,  this  kind  of  sketching  is  of  use,  because  it  gives 
tone  and  colour,  though  at  the  sacrifice  of  form,  but  in  etching 
such  work  could  never  have  much  value  unless  all  the  tones 
were  of  the  most  wonderfully  delicate  truth,  which  they  are  not 
likely  ever  to  be.  Corot  is  not  ignorant  of  form,  but  he  aban- 
doned the  study  of  it  many  years  ago  in  order  to  direct  his 
attention  exclusively  to  a certain  kind  of  effect.  In  the  three 
etchings  of  his  which  are  before  me  as  I write,  “ Souvenir 
1 TItaliel'  “ Pay  sage  clltalie and  “ Environs  de  Rome ” (all 
published  in  the  early  days  of  the  Soci'ete  des  Aqua/orlistes), 
the  want  of  some  kind  of  form  is  very  painfully  apparent.  It 
is  hard  to  see  how  etching  can  abandon  drawing  altogether, 
especially  when  such  definite  forms  as  tree  trunks  are  brought 
quite  into  the  foreground.  Then  Corot  has  no  sense  whatever 
of  the  use  of  line  (having  thought  and  worked  so  much  with 
the  brush),  and  the  consequence  is  that  he  runs  all  his  lines 
together  in  a wild  scribble  for  shading,  the  only  apparent 
object  being  to  cover  the  copper  as  fast  as  possible  with 
something,  however  artless.  It  is  scribble,  scribble  every- 
where, without  a plant  in  the  foreground  or  a leaf  upon  a 
branch,  the  ensemble  presenting  at  a little  distance  very  much 
the  appearance  of  the  preparatory  rubbing-in  with  which  an 
artist  prepares  his  paper  for  a charcoal  drawing,  the  only 
difference  being  that  whereas  the  quality  of  rubbed  charcoal 
is  exquisite,  that  of  etched  shading  like  this  is  decidedly 
unpleasant  And  yet,  in  spite  of  these  defects,  the  few  etch- 
ings of  Corot  have  one  merit  and  charm — they  do  certainly 


224 


VARIOUS  FRENCH  ETCHERS. 


recall  to  mind,  by  association  of  ideas,  his  charming  work  in 
oil,  so  full  of  the  sweetest  poetical  sentiment.  All  sins  are 
forgiven  to  the  true  poets.  Corot  may  not  be  a great  poet, 
as  Turner  was,  but  he  is  a true  one.  He  feels  the  mystery 
of  nature ; he  feels  the  delightfulness  of  cool,  grey  mornings 
and  dewy  evenings  ; he  feels  the  palpitating  life  of  gleaming 
river-shores  and  the  trembling  of  the  light  branches  wherein 
the  fitful  breezes  play.  He  has  an  intense  sense  of  the  glim- 
mering indecision  and  mystery  of  natural  appearances,  and  he 
does  not,  as  it  seems  to  us,  draw  and  paint  with  precision 
simply  because  his  attention  does  not  fix  itself  on  that  which 
is  precise* 

It  would  be  unjust  to  omit  an  etcher  of  such  masculine 
power  as  BRACQUEMOND,  but  his  works  are  not  always 
executed  upon  right  principles,  though  his  error  has  been 
quite  of  an  opposite  character  to  the  formlessness  of  Corot. 
The  veteran  landscape-painter  thinks  only  of  relation,  and 
not  about  individual  form,  but  (in  the  plates  at  least  which  I 
now  refer  to)  M.  Bracquemond  gives  individual  form  with  the 
utmost  force  and  truth,  without  the  slightest  thought  of  rela- 
tion. He  contributed  some  plates  to  the  Societe  which  were 
perfect  examples  of  this  system  of  work,  and  of  the  perfection 
and  imperfection  that  it  leads  to.  One  of  them,  Le  Haut  dun 
Battant  de  Porte , represents  part  of  a door  in  a farmyard,  with 
four  victims  nailed  to  it,  a crow,  two  hawks,  and  a bat.  Each 

* It  is  a remarkable  proof  of  the  value  of  a direct  expression,  however  defective 
in  its  manner,  that  Corot’s  etchings,  with  all  their  faults,  should  convey  a better 
notion  of  the  peculiarities  of  his  genius  than  the  far  cleverer  plates  which  Bracque- 
mond executed  after  Corot’s  pictures.  When  Bracquemond  translates  Corot,  all 
the  pensive  tenderness  and  lightness  of  touch  are  lost.  Corot  is  a sensitive  dreamer, 
dwelling  in  a world  of  his  own.  Bracquemond  has  a strong,  clever,  tough  nature, 
admirably  fitted  for  representing  the  field  sports  of  strong  men — as,  for  instance,  in 
his  capital  sporting  print,  “Unearthing  a Badger” — the  physical  lif  of  animals, 
and  such  aspects  of  the  external  world  as  are  to  be  apprehended  by  men  in  general 
who  lead  active  lives  and  are  a good  deal  out  of  doors.  It  is  quite  impossible  that 
such  a nature  should  have  enough  in  common  with  that  of  Corot  to  be  able  to 
render  a single  thought  of  his. 


VARIOUS  FRENCH  ETCHERS. 


225 


of  these  is  drawn  with  the  utmost  strength  of  imitation,  but 
each  of  them  is  independent  of  the  rest,  and  might  be  detached 
as  a separate  study.  One  feels  this  even  more  strongly  in 
Vanneaux  et  Sarcelles  (lapwings  and  teal) ; each  bird  is  studied 
separately,  the  whole  force  of  the  artist’s  attention  being  con- 
centrated upon  it  exclusively,  without  embracing  the  compo- 
sition as  a whole.  A large  flower  comes  against  the  nearest 
lapwing ; every  petal  of  it  is  strongly  outlined,  and  then  the 
surface  is  flatly  shaded  without  any  modulation  from  incidence 
of  light.  The  principle  of  this  work  is  not  at  all  a bad 
principle  for  some  kinds  of  decoration  ; it  is  quite  right  on  a 
dinner-service  or  a screen,  and  we  are  very  familiar  with  it  in 
Japanese  art ; but  it  is  wrong  in  pictorial  art,  and  consequently 
in  artistic  etching,  which  ought  to  be  synthetic  above  all 
things.  At  a later  date  M.  Bracquemond  began  to  study 
more  synthetically,  and  one  result  of  this  change  of  purpose 
was  “The  Hare,”  which  appeared  in  the  Portfolio  for  May 
1872.  In  this  plate  the  artist  still  gave  evidence  of  his  know- 
ledge of  animal  life,  for  the  attitude  and  expression  of  the 
hare  were  as  good  as  those  of  the  birds  in  earlier  works  ; but 
he  now  seriously  attempted  a general  effect,  and  to  some 
extent  succeeded  in  an  experiment  with  line  and  stipple, 
whilst  the  foreground  plants,  instead  of  being  heavily  outlined 
as  before,  were  now  treated  as  if  they  had  been  lightly  sketched 
with  a brush.  The  revolution  in  manner  was  therefore  com- 
plete, since  in  the  purpose  of  the  artist  synthesis  had  been 
substituted  for  analysis;  and  if  M.  Bracquemond  had  pursued 
etching  regularly  afterwards  there  can  be  little  doubt  that  he 
would  have  taken  a decided  rank  amongst  the  best  etchers  of 
the  age.  Unfortunately,  however,  for  this  particular  branch 
of  art,  he  accepted  an  engagement  at  Sevres  which  has  since 
occupied  all  his  time. 

M.  Leon  Gaucherel  is  a well-known  engraver  who  has 
brought  to  etching  the  knowledge  of  form  acquired  in  another 
art.  He  is  also  a very  skilful  painter  in  water-colour.  His 

Q 


226 


VARIOUS  FRENCH  ETCHERS. 


labours  have  been  chiefly  architectural,  archaeological,  and 
decorative.  All  M.  Gaucherel’s  etchings  are  distinguished  by 
great  clearness  and  knowledge,  but  they  are  generally  rather 
hard  and  severe  in  manner,  being  conceived  more  from  an 
architect’s  or  an  engraver’s  point  of  view  than  from  a painter’s. 
One  of  his  plates,  representing  a narrow  canal  in  Venice, 
between  a garden  and  a lofty  house,  with  a narrow  footbridge 
at  a considerable  height  above  the  water,  appeared  in  the 
Portfolio  for  December  1873,  and  may  be  considered  in  all 
respects  a representative  example,  having  all  the  clearness  of 
his  work  with  its  good  drawing  and  perspective,  and  also  the 
peculiar  hardness  just  alluded  to,  which  extends  even  to  the 
foliage.  M.  Gaucherel  has  occasionally  etched  from  pictures, 
and  I shall  have  to  recur  to  this  part  of  his  labours  in  another 
chapter.  He  was  also  one  of  the  artists  who  etched  Bida’s 
designs  for  Hachette’s  magnificent  edition  of  the  Gospels  ; and 
I may  add  (though  this  has  nothing  to  do  wfith  etching)  that 
he  engraved  on  steel  nearly  three  hundred  ornaments  for  that 
wonderful  book,  and  engraved  them  in  a manner  so  faultless 
that  it  excelled  all  previous  work  in  the  same  kind. 

M.  Feyen-Perrin  has  often  etched  from  his  own  pictures, 
which  for  some  time  past  have  represented  rather  melancholy 
subjects,  found  on  the  coast  of  Brittany,  amongst  the  fishing 
population.  He  has  much  true  natural  sympathy  for  the 
pathos  of  a hard  life,  especially  as  it  touches  women  ; so,  whilst 
too  many  of  his  brethren  were  painting  the  demi-monde  of 
Paris,  Feyen-Perrin  went  to  study  a nobler  though  less 
elegant  kind  of  life  on  the  sea-shore.  He  is  not,  however,  a 
marine  painter  in  the  ordinary  sense  of  the  word,  but  one  of 
the  Great  French  rustic  school  akin  to  Millet  and  others,  only 
studying  the  peasantry  on  the  coast,  with  the  influence  of  the  sea 
upon  their  lives.  I think  the  finest  of  Feyen-Perrin’s  etchings 
is  the  one  called  Vanneuses  de  Cancale.  Two  women  are 
winnowing  on  the  shore  of  a broad  estuary.  I have  rarely 
seen  a plate  which  with  such  simple  means  of  execution  con- 


VARIOUS  FRENCH  ETCHERS. 


227 


veyed  ideas  of  texture  and  tone  as  well  as  form,  and  I shall 
have  more  to  say  of  this  plate  in  relation  to  the  art  of  etching 
from  pictures.  The  same  qualities,  though  in  a less  striking 
degree,  are  visible  in  “A  Sailor’s  Infancy,”  which  was  published 
in  the  Portfolio  (May  1873).  This  plate  is,  however,  a better 
instance  than  the  “Vanneuses”  of  the  sort  of  pathos  which 
distinguishes  the  artist’s  work.  A mother  is  seated  on  one  of 
the  great  blocks  of  a pier  with  her  infant  in  her  arms,  and  the 
sea  and  sky  for  a background.  She  is  awaiting  the  arrival  of 
a fishing-boat,  visible  in  the  distance ; meanwhile  she  looks 
rather  sadly  on  the  baby  in  her  arms,  as  if  thinking  already 
of  the  time  when  he  also  must  leave  her  in  the  fishing-boats. 
In  these  plates,  although  they  are  done  from  pictures,  we  have 
the  perfect  originality  of  the  artist,  since  the  pictures  are  his 
own,  and  the  needle  does  no  more  than  interpret  the  execu- 
tion which  best  expresses  his  own  thoughts.  When  an  etcher 
works  from  pictures  done  by  another  hand  the  case  is  entirely 
altered. 

M.  LEGROS,  who  is  now  very  well  known  in  England  as 
a painter,  has  etched  what  are  specially  and  justly  called 
“ painters’  etchings  ; ” that  is  to  say,  the  kind  of  work  which  a 
painter  may  do  by  natural  genius  and  by  the  help  of  the 
artistic  experience  gained  in  working  with  the  brush.  I have 
already  mentioned  Corot  as  another  instance  of  this  ; but  there 
is  a difference  between  the  two  artists  which  is  much  in 
favour  of  Legros,  who,  being  a figure-painter,  must  be  depend- 
ent upon  form,  and  can  never  entirely  neglect  it  as  Corot 
does  in  his  landscapes.  M.  Legros  uses  the  etching-needle 
without  at  all  troubling  himself  about  what  may  constitute 
the  good  and  judicious  management  of  it  or  the  contrary, 
hence  his  etchings  have  an  inexperienced  and  amateurish 
look  in  direct  contrast  with  the  strong  mental  gifts  which 
express  themselves  in  this  simple  way,  and  give  a sterling 
value  to  the  work  in  spite  of  all  executive  deficiencies.  The 
texture  of  his  shading,  at  least  in  some  of  his  earlier  plates,  is 


228 


VARIOUS  FRENCH  ETCHERS. 


faulty  in  a peculiar  way  which  I will  try  to  describe.  The 
lines  run  together,  and  produce  little  black  patches  by  chance, 
where  they  were  not,  could  not  be,  definitely  intended  by  the 
artist.  There  appears  to  be  no  knowledge  of  the  resources  of 
the  art,  except  a difference  in  depths  of  biting ; the  same  thin 
needle  is  used  everywhere  with  little  variety  of  texture.  The 
best  piece  of  execution  that  M.  Legros  has  hitherto  produced 
is  Le  Bonhomme  Mis  He,  and  this  is  conceived  rather  like  an 
old  woodcut ; however,  it  is  a thoroughly  fine  piece  of  work 
in  every  way,  and  shaded  and  bitten  in  most  perfect  harmony 
with  the  subject.  The  mental  qualities  of  this  artist’s  work 
are  always  nobly  serious,  and  must  seem  strangely  so  to  those 
who  believe  in  the  universal  levity  of  the  French  temperament. 
The  legend  of  La  Bonhomme  Mishe  is  this : Saints  Peter 
and  Paul  visited  one  day  a very  poor  old  man,  who  possessed 
a hut  and  a pear-tree,  and  offered  to  grant  him  any  wish  that 
he  might  form,  so  he  did  not  ask  for  wealth,  but  simply 
requested  that  whosoever  climbed  up  into  his  pear-tree  might 
not  be  able  to  get  down  again  without  his  permission.  In  this 
way  he  caught  a thief  or  two,  and  at  length  came  Death  to  pay 
Le  Bonhomme  Misere  a visit.  The  old  man  received  him 
very  pleasantly,  and  just  begged  him  to  be  so  good  as  to 
climb  the  pear-tree  to  get  a certain  ripe  fruit  which  hung  on 
one  of  the  upper  branches.  Once  there,  Death  could  not  get 
down  again  without  the  old  man’s  express  permission,  so  a 
treaty  was  concluded  between  them  in  consequence  of  which 
Misery  dwells  for  ever  upon  the  earth.  M.  Legros  has  chosen 
the  moment  when  Death  is  up  in  the  pear-tree  holding  out 
the  pear  in  his  skeleton  fingers,  and  old  Misery  is  looking  up 
at  him.  The  imaginative  conception  of  the  whole  scene  is 
worthy  of  some  great  solemn-minded  old  northern  master. 
There  is  something  awful  too  in  the  plate  of  the  Bell-Ringer 
in  the  gloomy  steeple  chamber,  with  two  children  looking  up 
at  the  bell,  half  in  dread,  whilst  the  ringer’s  grave  face  and 
bent  figure  indicate  rather  the  fixed  habit  of  a serious  mind 


VARIOUS  FRENCH  ETCHERS. 


229 


“subdued  to  what  it  works  in,”  than  any  fear  of  the  loud- 
voiced  thing  that  swings  and  rings  above  him.  I like  too 
very  much  the  open  and  sweet  gravity  of  the  monk’s  portrait 
in  a small  square  etching  which  just  contains  the  head  and 
neck,  and  cowl  thrown  back ; it  is  the  face  of  a man  whose 
thoughts  rise  far  above  the  miserable  details  of  the  present, 
and  dwell  in  the  contemplation  of  the  eternal.  The  large 
plate  of  a girl,  a priest,  and  an  old  man  coming  out  of  church 
(the  old  man  telling  his  beads),  is  full  of  the  same  sweetness 
and  noble  gravity.  The  girl  has  the  aspect  of  a Madonna, 
and  the  men’s  faces  are  noble  studies,  both  of  them.  Unfortu- 
nately, from  the  want  of  technical  skill,  the  three  heads  are  so 
exactly  on  the  same  plane  that  the  girl  appears  gigantic.  M. 
Legros  has  always  taken  a peculiar  artistic  interest  in  the 
Roman  Catholic  worship.  Many  an  artist  has  been  struck 
by  the  splendour  of  its  ceremonies,  by  its  golden  and  silk 
embroideries,  candles,  ornaments,  imagery,  incense  ; but  these 
things  do  not  attract  Legros ; he  turns  to  the  monk  in  his 
rough  garment,  and  to  the  poor  peasant  maidens  and  old 
men  in  the  humble  village  church,  watches  them  as  they  pray, 
and  draws  them  with  an  instinct  of  sympathy  which,  in  its 
own  peculiar  kind,  has  no  precedent  in  the  fine  arts. 

Few  etchers  of  the  modern  French  school  have  produced 
such  uniformly  good  work  as  M.  Brunet-Debaines.  Two 
little  plates  of  his  published  by  Cadart,  La  Place  Roy  ale  d 
Dole  and  A Verdun  sur  le  Doubs , are  in  their  way  simply 
perfection,  faultless  little  gems  of  true  etching  like  the  little 
plates  of  Veyrassat,  everything  being  well  expressed  that  it 
was  necessary  to  express  at  all,  and  not  a stroke  too  much. 
Considering  how  little  M.  Brunet-Debaines  has  published  in 
the  way  of  original  etching,  it  is  surprising  that  he  should  be 
able  to  do  such  work  as  this,  drawn  evidently  with  the  most 
enviable  facility,  and  beautifully  right  both  in  all  the  delight- 
ful detail  which  is  given  of  picturesque  towers  and  houses, 
and  in  the  shading  of  important  masses.  In  other  subjects, 


230 


VARIOUS  FRENCH  ETCHERS. 


where  buildings  occur  whose  architectural  importance  exacts 
a strict  attention  to  perspective  and  to  constructive  detail, 
this  artist  goes  through  his  work  without  neglecting  either 
truth  of  construction  on  the  one  hand  or  pictorial  effect  on 
the  other  ; and  it  would  be  difficult  to  find  in  the  etchings  of 
architects  or  painters  a manner  of  work  better  calculated  to 
explain,  at  the  same  time,  how  an  edifice  was  built  and  how 
it  looked  in  sun  and  shadow.  The  tower  in  the  Rue  des 
Grands  Degres  a Blois  and  the  side  of  Notre-Dame  de  Bourges , 
with  its  window  and  doorway,  and  what  is  above  the  doorway, 
are  both  good  instances  of  this.  M.  Brunet-Debaines  is  also 
one  of  the  best  living  etchers  from  pictures,  and  I shall  have 
more  to  say  of  him  in  that  capacity. 

The  subject  of  architecture  brings  me  to  the  work  of  M. 
DE  ROCHEBRUNE,  who  etches  it  with  great  precision  and  rich- 
ness of  detail,  combined  with  powerful  light  and  shade.  Two 
magnificent  interiors  of  his  * have  been  published  by  M. 
Cadart  in  his  annual  portfolios  (l’Eauforte  en  1874  and 
l’Eauforte  en  1875).  M.  de  Rochebrune  is  a painter  of  noble 
birth  who  has  the  rare  privilege  of  living  in  one  of  the  grandest 
of  the  old  French  chateaux,  so  that  for  these  two  subjects  he 
had  only  to  look  at  two  sides  of  his  own  studio,  and  draw  the 
chimney-piece  and  the  door,  gigantic  constructions  of  semi- 
barbaric  magnificence  fit  for  some  royal  hall  of  the  Elizabethan 
period.  These  etchings,  which  are  large,  are  full  of  strong 
work  in  their  kind,  and  prove  a resolute  determination  to  draw 
everything  fairly  and  thoroughly,  a determination  which  is 
rarely  found  in  unison  with  such  a vigorous  sense  of  effect. 
The  same  substantial  qualities  may  be  observed  in  other 
works  by  M.  de  Rochebrune  even  when  the  subject  is  much 
less  striking.  He  has  illustrated  the  chateau  of  Chambord,  the 
Louvre,  the  Hotel  Cluny,  the  chateaux  of  Blois,  Pierrefonds, 
Ecouen,  and  the  cathedral  of  Strasbourg. 

* Cheminee  de  V atelier  de  Terre-Neuve,  Vendee,  and  Porte  de  V atelier  de  Terre- 
Neuvc. 


VARIOUS  FRENCH  ETCHERS 


231 


The  French  school  is  so  rich  in  etchers  of  ability,  whose 
number  increases  yearly,  that  it  is  impossible  in  a book  like 
this  to  avoid  omissions  which  may  already  be  considered  un- 
just, and  which  are  likely  to  appear  much  more  so  a few  years 
hence,  when  artists  now  beginning  their  work  shall  have 
developed  themselves  completely  by  practice.  Amongst 
those  who  ought  not  to  be  omitted,  since  they  have  taken  part 
in  the  movement  for  a good  many  years,  M.  CHAUVEL  deserves 
respectful  mention  for  his  clear  drawing  of  landscape  and 
genuine  manner,  as  exemplified  in  such  plates  as  A Flenry 
Marne , which  is  simply  and  well  etched,  and  preferable  to  his 
more  laboured  work,  such  as  that  in  La  Grenouille  et  le  Bceuf. 
A good  specimen  of  his  work,  a scene  with  tree  trunks  in  the 
foreground  and  an  effect  of  rain  in  the  distance,  under  the 
title  Environs  de  Rouen, , was  published  in  V Eauforte  en 
1874.  There  was  no  waste  of  labour  in  this  plate,  which  con- 
veyed the  intended  impression  perfectly.  In  the  first  year  of 
the  Societe  des  Aquafortistes  M.  CHAIGNEAU  contributed  a 
plate  called  Moutons  en  Plaine , which  I thought  then,  and 
think  still,  one  of  the  best  examples  of  modern  etching  of  a 
simple  kind,  being  at  the  same  time  right  in  manner,  true  to 
nature,  and  poetical  in  feeling.  The  figure  of  the  shepherdess 
is  almost  sublime  in  her  simple  dignity,  as  she  glances  over  her 
sheep.  The  landscape,  without  being  minute,  is  grand  and 
true,  the  play  of  light  in  the  corn  being  very  beautiful.  Like 
Daubigny’s  Parc  d Moutons , this  is  a genuine  pastoral  poem, 
but  here  we  have  an  additional  satisfaction  in  the  truth  with 
which  every  sheep  is  studied  and  drawn.  Another  plate  by 
the  same  artist,  Femme  Gardant  des  Moutons , is  too  coarse  in 
texture  to  be  held  in  the  hand,  and  does  not  look  well  or  come 
well  together  at  a less  distance  than  six  or  eight  feet  from  the 
spectator.  This  is  a point  which  deserves  the  serious  attention 
of  etchers.  If  their  works  are  to  be  published  in  portfolios  or 
books,  they  cannot  safely  be  etched  on  the  same  principle  as 
if  they  were  to  be  hung  on  the  wall  of  an  exhibition.  There 


232 


VARIOUS  FRENCH  ETCHERS. 


is  evidently  a limit  to  coarseness  of  texture  in  shading — a limit 
beyond  which  the  lines  cease  to  be  shading  altogether  and 
become  simply  black  bars  with  white  spaces  between  them,  or 
a network  like  a wire  fence.  M.  Abraham’s  etchings  of  land- 
scape deserve  mention  for  a masculine  and  direct  manner,  but 
show  little  trace  of  any  tenderness  in  feeling.  The  best  are 
Environs  de  Chateau  Gontier  and  Bords  de  VOudon , the  first 
a scene  in  a forest  amongst  the  boles  of  ancient  trees,  on  rocky 
broken  ground,  well  composed,  and  quite  giving  the  impression 
of  such  a place  ; the  other  a piece  of  lowland  river-shore,  with 
tall  thin  graceful  trees  just  well  enough  drawn  to  make  one 
regret  that  they  were  not  treated  with  the  tenderness  of 
Appian  or  Lalanne.  It  is  not  without  pleasure  that  I mention 
here  the  name  of  ViLLEVIElLLE,  a landscape-painter  of  much 
feeling,  who  died,  like  our  own  Girtin,  in  early  manhood.  He 
had  an  exquisite  sense  of  landscape  beauty,  which,  however,  is 
not  nearly  so  apparent  in  his  etchings  as  it  is  in  his  work  in 
oil,  which  had  the  additional  charm  of  a warm  sunny  colour 
not  common  either  in  the  French  school  or  in  any  other.  A 
carping  critic  might  here  observe  that  I am  going  beyond  the 
province  of  this  book  in  speaking  of  an  etcher’s  capacity  as  a 
painter ; but  it  is  not  so,  for  in  looking  at  an  etching  by  Ville- 
vieille  I think,  and  think  regretfully,  how  he  would  have 
painted  the  same  subject.  His  etched  work  is  so  far  inferior 
as  to  convey  hardly  anything  of  the  painter’s  charm  and 
sweetness.  The  two  plates  under  the  same  title,  A Nohant- 
Vicq — one  representing  an  old  thatched  cottage,  and  the  other 
an  approach  to  a bridge  under  trees — are  both  interesting 
plates,  but  the  latter  is  very  violent  in  its  lights  and  darks,  the 
foliage  being  quite  white  in  the  lights,  and  all  cast  shadows 
as  black  as  unmitigated  printing-ink  could  make  them.  This, 
however,  may  have  been  due  simply  to  technical  inexperience, 
for  in  another  plate  by  the  same  artist,  En  Picardie , which  was 
given  in  the  first  edition  of  this  work,  Villevieille  had  recourse 
to  the  roidette  for  his  general  tone,  and  escaped  all  false  vio- 


VARIOUS  FRENCH  ETCHERS. 


233 


lence,  attaining  in  place  of  it  a harmony  very  like  that  of  his 
pictures.  The  last-named  etching  is  very  simple  in  subject, 
but  pervaded  by  a tender  melancholy,  which  makes  it  linger 
in  the  memory  for  long. 

M.  BALFOURIER  is  a very  experienced  landscape-painter, 
who  occasionally  etches  his  own  pictures.  His  system  of  work 
is  simply  to  begin  by  putting  in  all  organic  markings  and 
biting  them  rather  deeply,  after  which  he  passes  a veil  of 
shading  over  the  work  to  be  bitten  much  more  lightly.  In 
some  of  his  plates  this  division  of  processes  is  even  too  apparent, 
so  that  the  work  does  not  seem  harmonised,  but  in  others  the 
technical  method  is  quite  successful ; and  as  the  artist  always 
chooses  curious  and  interesting  subjects  his  best  plates  are 
well  worth  preserving.  I can  heartily  recommend  two  of 
them,  Marais  prfc  d'Elche  (Espagne)  and  Une  Usine  a la 
Crau  ( Var),  both  admirable  interpretations  of  the  picturesque 
of  southern  Europe.  I observe  that  in  M.  Balfourier’s  work 
the  immediate  foreground  and  the  far  distance  are  rarely  of 
much  importance,  but  that  nearly  all  his  interesting  material 
is  to  be  found  on  the  nearer  middle  distance,  or  what  the 
French  call  le  second  plan.  This  is  extremely  judicious, 
because  at  that  distance  landscape  material  is  most  con- 
veniently situated  for  a kind  of  study  combining  breadth  with 
intelligible  detail,  and  there  is  much  less  risk  to  the  general 
harmony  than  there  would  be  in  a minute  study  of  what  lies  quite 
close  at  hand.  M.  SOUMY,  who  was  a Prix  de  Rome , has,  I 
believe,  done  little  in  etching,  but  two  of  his  plates,  published 
under  the  same  title,  Forges  d'Allevar  en  Dauphin e,  are  very 
charming,  in  a rather  old-fashioned  way,  reminding  one  of  Ever- 
dingen,  and  quite  as  good  as  the  best  work  of  that  master. 
In  these  plates  the  artist  treats  broken  ground  and  picturesque 
buildings  very  happily,  with  much  breadth  of  light  and  shade, 
and  considerable  truth  of  tone.  The  Baron  DE  LONGUE- 
viLLE  is  a naval  officer  and  an  amateur,  but  a very  skilful 
amateur.  No  marine-painter  whom  I remember  has  better 


234 


VARIOUS  FRENCH  ETCHERS. 


expressed  the  majesty  of  a modern  war-fleet.  He  is  fond  of 
naval  magnificence,  and  understands  it  both  artistically  and 
as  an  observer  of  seamanship.  The  objection  to  his  work  is 
the  grave  artistic  error  of  losing  his  darks  in  absolute  black,  so 
that  his  shadows  are  usually  quite  black.  This  is  a complete 
mistake,  due  to  a want  of  study  of  the  inevitable  artistic  com- 
promises. In  the  plate  entitled  Sous  Voiles  couraiit  grand 
largue  this  fault  is  visible  only  in  the  shadows  on  the  nearest 
sails;  but  some  other  plates — as,  for  instance,  Ait  Mouillage 
and  En  Mer — are  altogether  spoiled  by  it.  In  the  first 
mentioned  of  these  subjects  the  student  cannot  fail  to  remark 
the  admirable  rendering  of  the  effect  of  six  different  distances 
on  the  appearance  of  a ship  ; this  is  the  artistic  purpose  of 
the  etching,  and  with  right  artistic  cunning  the  nearest  ship 
is  brought  close  to  the  most  remote  one.  The  water  is  very 
liquid  and  good,  and  the  sense  of  being  at  sea  perfectly 
communicated.  In  the  Sous  Vapeur  a steam  fleet  is  going  at 
speed  on  calm  water,  clouds  of  black  smoke  issuing  from 
every  funnel ; I have  never  seen  the  sublimity  of  a steam 
war-fleet  more  impressively  rendered.  M.  de  Longueville 
has  perfect  mastery  of  his  materials,  and  can  do  all  he  wants 
to  do  in  etching,  but  he  seems  to  have  no  aspiration  beyond 
the  lively  and  truthful  rendering  of  what  he  knows.  M. 
BALLIN  is  more  ambitious  ; some  of  his  plates  of  marine 
subjects  are  interesting  historically,  and  have  besides  a 
picturesque  interest  of  quite  a peculiar  kind,  since  they  set 
before  us  the  high-pooped  ships  that  sailed  and  fought  two 
hundred  years  ago.  This  kind  of  restoration  is  still  quite 
possible,  for  we  have  ample  evidence  as  to  the  construction  of 
the  ships,  and  the  sea  remains  ever  the  same.  M.  Ballin 
appears  to  feel  very  strongly  the  grandeur  of  the  old  naval 
engagements,  and  draws  them  with  great  spirit.  Since  the 
war  of  1870  there  have  appeared  two  or  three  very  clever 
etchers  of  military  subjects,  such  as  Langon,  Detaille,  and  De 
Neuville.  LAN£ON  draws  animals  capitally,  a talent  which 


VARIOUS  FRENCH  ETCHERS. 


235 


stands  him  in  good  stead  when  he  has  to  deal  with  such  a 
subject  as  Boidevard  Montrouge , 1871,  with  the  dead  animals 
lying  about  on  the  pavement,  or  the  trooper’s  horse  in  Fau- 
bourg; 30  Aout  soir  1870,  or  the  dead  horses  in  Route  de 
Mouzon , 31  Aout  1870,  which  are  represented  with  frightful 
truth  amongst  the  corpses  of  their  riders.  Detaille,  a 
favourite  pupil  of  Meissonier,  who  has  become  celebrated  as  a 
painter  very  early  in  life,  etches  with  consummate  ease  and 
skill,  which  may  be  attributed  to  his  habit  of  making  clever 
croquis  of  what  he  sees  for  subsequent  use  in  his  pictures. 
His  two  plates,  Un  Uhlan  and  Trompette  de  Chasseurs , are  as 
good  as  anything  well  can  be  in  that  light-handed  sketchy 
manner,  being  full  of  the  closest  observation  expressed  with 
admirable  ease.  Any  critic  can  say  that  these  are  “mere 
sketches,”  because  all  the  paper  is  not  blackened  ; but  he  who 
knows  what  good  drawing  is,  and  where  to  look  for  it,  will 
find  more  of  it  in  a horse’s  leg  by  Detaille,  sketched  from 
memory  in  five  minutes,  than  in  many  a laboured  engraving. 
M.  DE  NEUVILLE  is  a painter  of  soldiers  in  action  and  repose, 
and  a clever  sketcher  on  copper ; his  Mobiles  a la  Tranchee , 
Siege  de  Paris , is  a good  example  of  the  strong  character 
which  he  puts  into  his  work,  every  face  and  every  attitude 
being  a separate  and  strikingly  truthful  study.  With  this 
name  I close  a chapter  already  too  long  for  the  reader’s 
patience,  and  yet  too  short  for  any  adequate  study  of  those 
etchers  who  have  not  been  noticed  separately.  So  much 
energy  and  so  much  genuine  talent  are  now  to  be  found  in 
the  French  school  of  etching,  that  the  members  of  it  are 
already  too  numerous  to  be  spoken  of  with  a fair  allowance 
of  space  and  study  to  each.  We  can  do  no  more  than  simply 
acknowledge  their  honourable  perseverance,  and  the  very 
considerable  degree  of  artistic  success  which  has  already 
attended  it. 


ETCHING  AND  ETCHERS, 


BOOK  IV. 


THE  ENGLISH  SCHOOL, 


CHAPTER  I. 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 

JN  a work  intended  for  English  readers,  it  is  an  excusable 
degree  of  patriotism  to  give  rather  more  space  to  the 
English  school  than  would  be  strictly  due  to  it  according  to 
the  rules  of  absolute  impartiality.  The  names  of  English 
artists  are  already  known  to  the  reader,  and  he  will  expect, 
it  may  be  supposed,  an  account  of  what  they  have  done  in 
etching.  But  let  me  warn  him  at  the  beginning  that  he  is 
not  to  expect  any  great  enthusiasm  or  activity  in  the  English 
school.  There  is  no  sustained  energetic  work  in  this  art  in 
England  ; it  is  not  encouraged  here,  as  it  is  in  France,  by 
great  publishing  enterprises  succeeding  each  other  rapidly ; 
nor,  on  the  other  hand,  is  there  much  of  that  heroic  temper 
amongst  English  artists  which  will  persevere  in  an  unremu- 
nerative  pursuit,  simply  for  the  love  of  it,  and  from  a feeling 
that  a noble  art  ought  to  be  kept  alive  for  its  own  sake. 

In  considering  the  difference  between  France  and  Eng- 
land in  this  respect,  we  find  that  the  reasons  for  it  are  easily 
discoverable.  The  ordinary  Englishman  measures  the  graphic 
arts  exclusively  by  their  powers  of  imitation  ; he  has  no 
conception  of  any  higher  faculty  in  the  artist,  or  any  wider 
liberty.  If  you  want  the  key  to  all  his  thinking  about  graphic 
art,  here  it  is.  When  there  is  much  imitation  of  a clever 
kind,  he  rather  likes  the  art  and  thinks  it  is  good  ; when  there 
is  little  imitation,  the  art  puzzles  him  and  he  passes  it  by. 
Nor  is  this  view  of  the  subject  entirely  confined  to  those  who 
are  whully  uneducated  in  art.  It  is  so  much  a part  of  the 


240  THE  REVIVAL  OF  ETCHING  IN  ENGLAND . 


national  temperament  that  some  of  the  ablest  artists  and 
some  of  the  best-informed  critics  are  never  wholly  delivered 
from  it,  but  are  always  liable  to  fall  back  into  it,  and  to  for- 
get all  larger  and  nobler  ideas,  either  in  the  pleasure  of 
simply  imitating  nature,  or  else  in  the  kindred  delight  of 
enjoying  such  imitation  when  it  has  been  cleverly  and  suc- 
cessfully accomplished.  Even  Mr.  Ruskin  tells  the  students 
at  Oxford  that  the  painting  which  is  likest  nature  is  best,  and 
quotes  with  approbation  Leonardo  da  Vinci’s  assertion, 
excusable  only  in  an  age  when  criticism  was  childish  though 
art  was  strong  and  great,  that  the  mirror  is  the  master  of 
painters,  and  that  the  proper  way  to  test  the  merits  of  a 
picture  is  to  compare  it  with  the  reflection  of  the  living  model 
in  a looking-glass ! This  is  a thing  which  in  modern  times 
could  be  said  only  by  an  English  critic,  and  only  to  an 
English  audience.  The  conception  of  art  as  something  dis- 
tinct from  simple  imitation  is  too  generally  admitted  on  the 
Continent  for  such  a doctrine  to  be  listened  to  or  tolerated 
there,  and  the  critic  who  acknowledged  it  as  his  own  would 
be  answered  at  once  by  innumerable  voices,  “We  know  better 
than  that ; we  know  that  the  true  power  of  art  is  exhibited 
in  forms  which  are  not  imitation,  and  are  not  compatible  with 
imitation  ; that  the  work  of  the  artist,  as  distinguished  from 
that  of  the  simple  copyist  of  matter,  is  full  of  deviations  from 
the  truth  as  it  would  be  seen  in  a mirror,  these  deviations 
being  not  faults  to  be  corrected,  but  essential  parts  of  the 
artistic  expression,  without  which  the  work  would  be  mind- 
less. We  know  that  the  real  labour  of  the  artist  (though  the 
vulgar  may  not  be  aware  of  it)  consists,  not  in  giving  a 
mirror-like  image  of  things  precisely  as  they  are,  but  in  a 
personal  and  original  interpretation  of  their  aspects,  far, 
indeed,  from  the  literal  truth  of  a reflection  on  metal  or  on 
glass.” 

It  may  seem  that  this  question  has  more  to  do  with  paint- 
ing than  with  etching,  but  the  truth  is  that  the  state  of 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND . 241 


general  opinion  with  regard  to  imitation  affects  all  the  fine 
arts  which  concern  themselves  with  the  representation  of 
natural  objects.  If  you  think  that  drawing  is  to  be  an  imita- 
tion of  nature  and  not  an  interpretation,  there  is  hardly  any 
piece  of  thoroughly  great  work  in  etching  which  will  not 
be  offensive  to  you,  but  if,  on  the  other  hand,  you  have  ac- 
cepted frankly  the  higher  and  greater  conception  of  the  fine 
arts,  which  leaves  the  pictorial  artist  as  free  to  express  himself 
as  the  musical  or  poetical  artist,  then  the  very  peculiarities 
which  would  have  irritated  you  before  for  their  obvious  lack 
of  imitative  truth,  may  possibly  afford  you  a noble  pleasure 
on  other  grounds,  either  as  expressions  of  human  energy  or 
tenderness,  or  else  because  they  may  suggest  to  you  some 
glorious  or  beautiful  sight  in  nature  to  which  they  bear 
hardly  any  imitative  resemblance. 

The  acceptance  or  refusal  of  etching  in  England,  and  the 
possibility  of  forming  a great  school  of  etchers  in  this  country, 
depend  more  upon  the  public  feeling  about  imitation  than 
upon  any  other  peculiarity  of  taste.  So  long  as  the  idea 
prevails  that  the  best  art  is  that  which  is  most  like  the  reflection 
of  nature  in  a looking-glass,  so  long  will  the  work  of  the  great 
etchers  appear  wilfully  false  and  wrong,  and  there  will  be  little 
public  encouragement  to  follow  in  their  footsteps,  and  to 
labour  for  the  acquisition  of  any  skill  which  would  ultimately 
resemble  theirs. 

How  deeply  rooted  this  idea  is  may  be  seen  in  the  current 
criticism  of  the  newspapers,  which  too  often  proceeds  on  the 
tacit  assumption  that  art  has  nothing  to  do  but  copy  some 
natural  model,  and  that  the  best  art  is  that  which  imitates  it 
most  closely.  “All  art,”  said  the  Morning  Post  when  review- 
ing the  first  edition  of  this  work,  “ is  essentially  mechanical ; 
the  needle,  the  burin,  the  pencil,  the  brush,  — these  are  all 
machines  or  tools  worked  by  the  hand  to  copy  what  the  eye 
beholds,  and  the  faithfulness  of  the  copy  constitutes  the 
merit  of  the  work.  No  graphic  delineation  can  portray  the 

R 


242  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


invisible,  no  artist  can  figure  feeling ; this  must  be  extracted 
by  spectators  themselves  out  of  the  imitated  forms,  as  his  was 
excited  by  the  view  of  the  originals.” 

Here  you  have  a perfectly  clear  and  intelligible  expres- 
sion of  the  prevalent  English  theory  about  art.  Here  it  is 
clearly  stated  that  the  work  of  the  artist  is  mechanical,  that 
his  only  business  is  to  copy  what  his  eye  beholds,  and  that 
the  faithfulness  of  the  copy  constitutes  the  merit  of  the  work. 
It  is  the  mirror-theory  taught  officially  to  the  Oxford  under- 
graduates. It  has  the  advantage  of  an  extreme  simplicity, 
and  it  has  also  the  advantage  of  being  the  first  theory  of  art 
which  suggests  itself  to  every  totally  uneducated  mind,  so 
that  it  is  always  sure  of  an  immediate  reception.  The  “leading 
journal,”  the  Times,  is  awakening  to  the  possibility  of  an 
artistic  expression  not  strictly  imitative,  but  the  first  dawning 
perception  of  the  strangely  new  truth  (familiar  to  every 
French  critic  since  his  boyhood)  half  bewilders  the  writer 
and  half  amuses  him,  so  that  he  is  not  quite  sure  whether  he 
ought  to  laugh  at  interpretative  work  or  to  treat  it  rather 
respectfully.  Here  is  an  extract  from  the  greatest  newspaper 
in  England : — 

“ The  Hare — A Misty  Morning,  by  P.  Braquemond.  On 
first  looking  at  the  etching  it  produces  upon  the  mind  the 
impression  of  a bad  dream.  A hare  with  one  huge  solid  ear, 
the  fore  part  of  its  body  in  bright  light,  the  hind  part  scarcely 
visible,  squats  in  the  foreground.  In  the  middle  distance  are 
three  strange  shadows  of  other  hares  running  at  speed  in 
different  directions,  and,  farther  off,  three  pigmy  shadows  of 
men.  The  resemblance  to  nature  is  remote,  and  yet  this  is  a 
very  good  etching.  The  truth  is,  that  the  work  of  the  etcher 
can,  in  many  of  its  branches,  be  appreciated  only  by  an 
educated  *eye.  The  etcher  does  not  reproduce  nature ; he 
translates  it  into  a language  of  his  own,  a language  abounding 
in  subtle  interpretations  conveyed  with  extraordinary  delicacy 
and  harmony,  but  a language  which  very  often  appears  but 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  243 


gibberish  until  we  have  mastered  it.  Then  again  the  etcher  is 
ambitious.  He  plumes  himself  on  attempting  things  which 
might  be  deemed  far  beyond  the  scope  of  the  black  line,  which 
is  all  he  can  work  with.  When  he  makes  these  attempts,  as 
in  the  etching  before  us,  he  appears  to  fail  ridiculously,  until 
we  come  to  understand  his  method,  when  we  are  lost  in 
astonishment  at  the  dexterity  of  his  needle.  His  lights  and 
shadows,  falser  to  nature  even  than  those  of  photography,  are 
blacker  and  brighter  than  anything  in  earth  and  heaven  ; we 
may  often  take  our  choice  whether  his  lines  and  scratches  are 
intended  for  water  or  dry  land,  for  clouds  or  mountains  ; but 
if  we  surrender  ourselves  to  a competent  teacher,  we  shall  soon 
find  it  pleasant  to  be  schooled  in  this  strange  tongue,  and 
learn  what  an  artistic  treat  is  locked  up  even  in  this  one-eared 
hare,  with  the  bright  breast  and  inky  body,  and  in  the  queer 
abnormal  shadows  which  mean  ‘ a misty  morning ! ’ ” 

Now,  the  writer  of  the  above  criticism  is  certainly  in  a very 
different  position,  intellectually,  from  that  of  the  contributor 
to  the  Morning  Post,  whose  doctrine  I quoted  previously.  He 
sees  that  in  one  art,  at  least,  namely,  in  etching,  there  is  such 
a thing  as  interpretation,  but  he  cannot  help  feeling  that  it  is 
too  novel  an  idea  to  be  taken  quite  seriously  at  first,  so  he 
writes  of  it  as  of  some  strange  new  thing,  though  Rembrandt 
died  more  than  two  hundred  years  ago.  He  does  not  seem 
to  be  aware  that  if  etching  is  interpretative,  all  artistic  drawing 
is  so  too,  nay,  that  even  painting  is  so,  especially  in  the 
greatest  works.  What  surprises  me  in  such  criticism  as  this 
is  its  perfectly  uncultured  tone.  Ideas  about  art,  which  have 
long  been  the  common  property  of  all  cultivated  Europeans, 
are  utterly  unfamiliar  to  the  critic’s  mind.  He  writes  upon  the 
subject  as  you  would  expect  some  remote  Australian  colonist  to 
write  about  it  for  some  petty  colonial  newspaper,  intended  to 
edify  the  occupants  of  the  nearest  sheep-runs.  And  yet  he  is 
writing  in  the  capital  of  one  of  the  greatest  and  richest  nations 
in  Europe,  for  its  most  influential  newspaper,  and  about  an 


244  THE  REVIVAL  OF  ETCHING  IN  ENGLAND . 


art  which  came  to  perfection  two  hundred  years  before  he  was 
born  ! A word  more,  and  we  will  leave  this  kind  of  criticism 
to  those  for  whom  it  is  intended.  The  writer  in  the  Times 
cannot  even  read  common  drawing.  He  laughs  at  Bracque- 
mond  for  having  drawn  a hare  with  one  ear,  whereas,  in 
Bracquemond’s  plate,  the  hare  has  two  ears,  erect  and  back  to 
back,  he  also  sneers  at  the  artist  for  not  having  shown  the 
hind  quarters  of  the  hare  more  clearly,  as  if  more  of  them 
could  have  been  seen  in  that  position,  and  he  is  puzzled  by 
the  local  colour  of  the  white  fur  and  the  brown,  which  seems 
to  him  an  unaccountable  sort  of  light  and  shade.  And  it  is  to 
a critic  of  this  degree  of  culture  and  capacity  that  the  Times 
entrusts  the  reputation  of  great  artists — and  its  own  ! * 

It  would  be  unjust  to  leave  the  impression  that  we  have 
no  more  advanced  art-criticism  than  the  specimens  which  I 
have  just  quoted,  but  they  are  fair  examples  of  what  may  still 
be  presented  in  the  centres  of  English  enlightenment,  without 
calling  forth  either  protest  or  contradiction.  What  is  wanting 
in  England  is  a general  understanding  of  the  true  nature  of 
artistic  expression,  which  would  enable  the  national  mind  to 
judge  of  these  things  for  itself.  It  is  not  a matter  of  opinion, 
but  of  demonstrable  fact,  that  great  art  is  an  entirely  different 
thing  from  the  reflection  of  material  objects  in  a mirror,  and 
this  is  quite  clearly  understood  in  other  countries  by  cultivated 
people,  whether  professedly  art  critics  or  not ; why,  then, 
cannot  it  be  understood  in  ours  ? Take  the  finest  living 
models  you  can  find,  dress  them  or  undress  them  as  you  will, 
take  the  biggest  and  best  of  mirrors,  and  then  try  to  arrange 
your  models  and  your  light  till  the  reflected  image  looks 
like  a picture  by  Raphael,  or  Titian,  or  our  own  Sir  Joshua 

* It  may  be  observed  that  this  contributor  to  the  Times  had  to  spell  the  names 
of  two  living  artists  in  the  course  of  his  notice,  and  that  he  managed  to  spell  them 
both  wrong,  though  they  were  printed  in  capital  letters  in  the  volume  of  etchings 
which  he  was  reviewing.  What  degree  of  accuracy  in  observation  is  to  be  expected 
from  such  a writer? 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  245 


Reynolds  ! Do  what  you  will,  the  reflected  image  will  never 
resemble  masters’  work,  but  will  seem  only  what  it  is,  a reflec- 
tion of  simple  nature.  There  never  was  a tableau  vivaiit  that 
really  looked  like  a picture,  the  tableau  vivant , when  cleverly 
arranged,  looks  like  a grouping  of  artists’  models,  but  no  more. 
So  it  is  with  landscape.  Take  your  looking-glass  out  into  the 
finest  natural  scenery  you  can  find,  it  will  never  show  you 
noble  pictures  of  landscape,  but  only  things  like  photographs 
with  the  addition  of  colour,  and  a far  more  brilliant  light. 
Our  fathers  had  a fearful  and  wonderful  invention  which  they 
called  a “Claude  glass,”  a black  mirror,  which  blackened 
nature  for  them,  till  they  fancied  that  it  looked  like  the  old 
pictures  in  their  galleries.  They  did,  indeed,  by  this  ingenious 
contrivance,  mix  the  dirt  of  old  pictures  with  the  pure  hues  of 
nature,  and  so  brought  nature  to  the  dinginess  of  the  art  which 
they  admired,  but  not  a branch  of  a tree,  not  an  outline  of  a 
hill,  accommodated  itself  in  the  mirror  to  the  exigencies  of 
artistic  composition.  All  of  Claude  that  the  “ Claude  glass  ” 
gave,  was  the  dust  of  two  centuries  in  the  darkened  varnish  ; it 
imitated  neither  the  beauty  of  his  arrangements  nor  the  ten 
derness  of  his  feeling. 

Now,  when  you  go  into  the  heart  of  the  matter,  and  by  a 
thorough  analysis  of  good  artistic  work  endeavour  to  find  out 
in  what  it  differs  from  the  reflection  of  natural  objects  in  a 
mirror,  you  will  soon  discover,  if  your  eye  is  sufficiently 
educated  to  discern  differences  of  form,  that  the  artist  has 
been  incessantly  altering  the  appearances  of  things  and  forcing 
them  into  conformity  with  some  conception  in  his  own  mind. 
It  is  by  these  alterations,  and  by  these  alone,  that  he  can 
express  his  personal  tastes  and  feelings.  If  all  artists  re- 
flected nature  as  the  mirror  does,  you  would  not,  in  a gallery, 
be  able  to  recognise  the  work  of  different  painters  without  the 
help  of  their  signatures.  All  personal  style  in  art  is  an  altera- 
tion of  nature.  Every  preference,  every  affection,  destroys 
that  impartiality  of  the  mind  which  would  be  necessary  to  the 


246  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


reflection  of  pure  truth.  Even  what  is  popularly  praised  in 
art  as  truth  is  never  exactly  true,  but  is  an  exaggeration  of 
some  particular  kind  of  truth,  exhibited  at  the  expense  of 
others. 

If  people  knew  this,  and  knew  how  false  in  many  ways  is 
the  art  which  seems  to  them  most  true,  they  would  enter 
more  easily  into  that  kind  of  mutual  understanding  or  tacit 
convention  which  is  assumed  by  every  powerful  etcher  to 
exist  between  himself  and  the  public.  It  is  a convention  in 
some  respects  resembling  that  between  the  reader  and  the 
author  of  a book,  by  which  the  latter  avails  himself  of  letters 
and  words  for  the  conveyance  of  his  ideas  ; in  some  respects, 
I say,  or  to  some  extent,  but  etching  is  never  quite  so  purely 
conventional  as  the  signs  of  writing  are.  For  example,  the 
word  “ sunset  ” immediately  suggests  to  the  mind  of  an 
English  reader  the  setting  of  the  sun,  but  the  word  is  absolutely 
conventional ; the  choice  of  the  letters  which  compose  it,  and 
of  the  shapes  of  the  letters,  has  not  been  determined  in  the 
least  by  reference  to  any  natural  fact  of  form  or  colour ; and 
many  other  words  in  other  languages  convey  precisely  the 
same  idea.  Now  let  us  see  how  a sunset  would  be  represented 
in  painting  first,  and  then  in  etching.  Suppose  it  is  a red  sun- 
set, and  suppose  that  the  best  landscape-painter  in  the  world 
nas  painted  it.  He  has  represented  it,  let  us  say,  by  a disc 
of  vermilion  or  red  lead,  but  however  skilfully  he  may  have 
laid  on  the  colour,  there  will  still  be  so  much  conventionalism 
in  the  representation  that  it  will  not  be  recognisable  by  any 
one  entirely  outside  of  art  and  its  conventions.  Show  it  to 
an  agricultural  labourer,  who  often  sees  natural  sunsets,  the 
chances  are  that  he  will  take  it  for  a cherry.  Now  an  etched 
sunset,  equally  well  done,  will  have  been  done  on  the  assump- 
tion of  even  more  conventions  than  the  painted  one,  and  not 
only  the  agricultural  labourer,  but  people  of  far  higher  educa- 
tion than  his  may  not  be  able  or  willing  to  enter  into  these 
conventions,  especially  if  they  are  looking  for  what  they  think 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  247 


is  imitativd  accuracy.  The  etcher  will  probably  make  his  sun 
with  a black  outline  for  the  round  disc,  and  then  put  other 
black  marks  radiating  from  it,  so  that  the  spectator  will  say, 
“ it  is  not  like  a sunset,  it  is  much  more  like  the  nave  and 
spokes  of  a cart-wheel.”  What  are  we  to  reply  to  such  a piece 
of  criticism  as  this  ? We  can  only  answer  that  it  is  an  under- 
stood thing  amongst  people  conversant  with  the  language  cf 
etching,  that  such  signs  are  to  represent  the  orb  and  its 
radiance  together.  And  now  we  come  to  the  very  hottest  of 
the  everlasting  battle  between  the  criticism  of  knowledge  and 
the  criticism  of  ignorance.  The  ignorant  critic  says,  “ah,  yes, 
I see  that  the  merits  you  affect  to  discover  in  these  marks, 
when  they  are  made  by  the  men  whom  you  call  great  in  etch- 
ing, are  purely  fictitious  merits.  This  thing  that  resembles  a 
cart-wheel  is  conventionally  understood  to  stand  for  a sunset, 
and  it  is  the  fashion  amongst  connoisseurs  to  call  it  very 
clever,  but  it  does  not  resemble  nature.  In  nature  the  sun 
has  not  a black  outline,  and  there  are  no  black  lines  radiating 
from  him  on  the  sky.” 

This  is  the  sort  of  objection  to  interpretative  etching  which 
we  meet  with  very  frequently  in  England,  because  the  concep- 
tion of  art  simply  as  a means  of  imitation  is  so  very  prevalent 
amongst  our  countrymen.  The  answer  to  it  is  not  difficult  to 
find,  but  it  is  difficult  to  make  it  clear  to  those  for  whom  it 
ought  to  be  made  clearest.  The  fact  is  that,  although  the 
black  marks  are  not  like  nature,  the  manner  in  which  they 
are  drawn  upon  the  copper  will  most  distinctly  convey  to 
every  competent  critic  the  evidence  of  the  artist’s  knowledge, 
or  betray  his  ignorance.  There  are  no  lines  in  nature,  and 
yet  lines  are  a most  efficient  means  of  recalling  nature  to  the 
mind,  and  of  expressing  the  concentrated  experience  of  great 
artists.  If  you  will  not  grant  any  postulate  to  art,  if  you  will 
have  absolute  imitative  accuracy,  the  painted  sunset  will  be 
inadmissible  also,  for  although  the  oil-paint  may  render  the 
sun’s  colour,  it  cannot  give  his  light,  nor  anything  like  his 


248  THE  RE  VIVAL  OF  ETCHING  IN  ENGLAND. 


light,  and  the  peasant  might  have  reason  on  his  sid£,  all  things 
considered,  if  he  concluded  that  the  painted  sun  was  more  like 
a cherry  than  the  dazzling  orb  of  day. 

Painting  comes  to  us  with  the  postulate : “ Let  it  be 
granted  that  a lcwer  light  shall  be  understood  to  represent  a 
higher  light,”  and  in  all  great  interpretative  painting  there  are 
so  many  other  postulates  besides,  that  it  is  always  difficult  to 
read  until  we  are  used  to  it.  Etching  comes  with  the  chief 
postulate : “ Let  it  be  granted  that  the  line,  though  in  itself 
not  true  to  nature,  may  be  admitted  as  a means  of  expression.” 
There  are  also  many  minor  postulates,  but  especially  this  one  : 
“ Let  it  be  granted  that  all  truths  are  not  to  be  given,  but 
only  a selection  from  them.” 

The  granting  of  such  postulates  as  these  establishes  between 
the  artist  and  the  spectator  a certain  agreement  which  may 
be  called  a convention,  and  in  this  sense  both  painting  and 
etching  are  very  conventional  arts.  But  I wish  to  mark  a 
clear  distinction  between  this  kind  of  necessary  mutual  under- 
standing and  what  a sound  criticism  would  denounce  as  a blame- 
worthy conventionalism.  Let  me  give  two  instances  to  make 
my  meaning  plain.  There  is  a right  convention  between 
educated  spectators  and  educated  artists,  by  which  it  is  agreed 
that  the  dull  and  low  light  of  oil-paint  shall  be  understood  to 
mean  the  splendour  of  the  sun.  This  convention  is  a right 
one,  because  it  is  in  obedience  to  the  nature  of  things,  for 
without  it  a sunset  could  not  be  represented  in  painting.  Now 
let  me  give  an  instance  of  bad  and  foolish  conventionalism. 
There  was  a conventional  understanding  amongst  amateurs 
some  time  ago  that  the  green  of  landscape  was  not  to  be 
painted.  There  was  nothing  whatever  in  the  art  which 
opposed  itself  in  this  instance  to  the  free  rendering  of  nature. 
Oil-paint,  and  water-colour  also,  could  render  green  with  great 
truth  and  power.  The  obstacle  to  the  employment  of  this 
colour  came  from  a purely  arbitrary  conspiracy  amongst  con- 
noisseurs and  amateurs,  by  which  they  had  determined  that 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  249 


when  fresh  greens  were  introduced  into  a picture  the  work 
should  be  understood  to  be  a bad  work  of  art.  Foolish  con- 
ventionalisms of  this  kind  appear  as  if  they  were  devised  for 
the  express  purpose  of  restraining  the  development  of  the  fine 
arts,  and  although  they  originate  with  persons  who  profess  to 
take  an  interest  in  the  advancement  of  art,  their  influence  is 
wholly  noxious,  and  original  men  have  to  spend  their  force  in 
contending  against  them,  as  Constable  contended  against  the 
absurd  prejudice  which  I have  just  mentioned  as  an  example. 

Now,  in  comparing  the  English  with  the  French  mind  in 
relation  to  fine  art,  I should  say  that  English  people  generally 
are  much  less  liable  to  this  latter  kind  of  prejudiced  conven- 
tionalism than  the  French  are,  and  that  so  far  they  have  a 
very  great  superiority  over  the  French,  but  that,  on  the  other 
hand,  they  are  just  as  far  inferior  to  the  French  in  the  capacity 
for  entering  into  right  conventionalisms  and  for  granting 
necessary  postulates.  The  English  public  has  for  the  last 
twenty  years  been  singularly  free  from  all  conventional  preju- 
dices about  the  fine  arts,  and  there  is  no  country  in  the  world 
where  new  practices  in  painting  have  so  good  a chance  of 
being  fairly  estimated  on  their  merits  as  they  have  in  England. 
But  the  English  seem  to  have  a peculiar  difficulty  in  entering 
into  those  tacit  understandings  which  the  fine  arts  must  always 
presuppose.  Let  me  give  an  instance  of  what  I mean.  In 
Mrs.  Oliphant’s  admirable  novel  A Son  of  the  Soil ' she  gives  a 
fine  description  of  a rainbow,  and  then  permits  her  readers  to 
see  what  a young  English  gentleman  thinks  about  it.  “Young 
Frankland  at  the  window  could  not  help  thinking  within  him- 
self what  a beautiful  picture  it  would  make  ‘ if  any  of  those 
painter-fellows  could  do  a rainbow.’  ” * Let  us  try  to  get  to 
the  bottom  of  young  Frankland’s  ideas  on  the  subject.  He 
thinks  a rainbow  cannot  be  “ done  ” in  painting,  because  his 

* Observe  the  note  of  contempt  with  reference  to  artists — “those  painter- 
fellows.”  This  is  quite  usual  in  English  fiction.  The  reader  will  find  an  essay  on 
the  subject,  entitled  “Artists  in  Fiction,”  in  my  Thoughts  abcut  Art. 


250  THE  REVIVAL  OF  ETCHING  IN  ENGLAND, . 


eye  does  not  receive  the  same  sensations  from  a painted  rain- 
bow that  it  does  from  a real  one,  or,  in  other  words,  the 
“painter-fellows”  cannot  imitate  the  rainbow  absolutely.  Here 
is  just  one  of  those  very  numerous  occasions  on  which  the 
artist  presupposes  a tacit  understanding  between  art  and 
criticism,  or  what  I have  called  a necessary  convention.  Paint- 
ing cannot  give  the  splendour  of  the  rainbow,  so  we  have  the 
postulate : “ Let  it  be  granted  that  the  painted  rainbow  is  not 
to  be  so  splendid  as  the  natural  one.”  Frankland  does  not 
understand  this ; he  does  not  see  that  the  “ painter-fellows  ” 
ought  not  to  incur  contempt  because  they  have  not  done  that 
which  they  never  pretended  to  do.  He  does  not  enter  into 
the  convention  which  is  necessary  both  to  the  practice  of  art 
and  to  its  enjoyment.  He  is  intensely  English  in  this  ; it  is 
an  intensely  English  idea  that  the  purpose  of  art  is  imitation, 
and  that  where  imitation  is  not  achieved,  art  is  a failure.  Now 
let  us  go  a step  farftier.  For  a painted  rainbow  let  us  substi- 
tute an  engraved  one.  What  would  young  Frankland  say  to 
that  ? He  would  say  that  the  engraver  was  an  idiot  to 
attempt  it.  How  can  you  imitate  a rainbow  with  black  lines  ? 
The  answer  to  all  such  criticism  as  this  is  that  the  artist  pre- 
supposes a certain  understanding  between  himself  and  the 
spectator.  In  the  picture  the  convention  was  that  art  should 
not  be  expected  to  imitate  natural  light,  in  the  engraving  that 
neither  light  nor  colour  should  be  imitated.  But  a finished 
engraving  might  still  imitate  the  gradation  and  semi-trans- 
parency of  a rainbow,  and,  in  fact,  these  qualities  have  been 
often  rendered  in  engraving.  Yet  even  these  are  not  indi- 
spensable to  a work  of  art.  A rainbow  may  be  “ done  ” with 
a few  strokes  of  the  etching-needle,  or  with  common  pen  and 
ink,  and  be  quite  noble  and  valuable  work.  Hardly  any 
imitation  is  possible  with  these  limited  means,  yet  they  are 
right  in  art,  and  imply  no  weakness  or  folly  on  the  part  of  the 
great  artists  who  have  so  often  used  them.  By  the  help  of  a 
convention  into  which  the  spectator  is  invited  or  supposed  to 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND . 251 


enter,  such  artists  appeal  not  simply  to  his  eyes,  but  to  his 
memory  of  nature  and  his  imagination.  When  the  spectator 
is  ignorant  of  the  convention,  he  may  sometimes  fancy  that 
the  artist  insults  his  common  sense,  and  certainly  it  is  not  to 
common  sense  that  noble  art-work  ever  did  or  will  appeal.  It 
appeals  to  far  higher  faculties,  to  our  memories  of  the  beauty 
that  has  been,  and  our  dreams  of  the  beauty  that  has  never 
been,  to  our  perception  of  the  most  subtle  truth  in  nature,  and 
our  delight  in  seeing  such  truth  commented  upon,  and  even 
modified,  by  the  free  and  masterful  action  of  human  genius. 

It  is  because  the  English  have  hitherto  understood  art 
much  more  as  a copy  than  as  a suggestion  or  an  expres- 
sion, much  more  as  a substitute  for  imagination  than  as  a 
stimulus  to  it,  that  they  have  been  moved  with  great  difficulty 
by  all  the  forms  of  art  which  appeared  to  them  “ unfinished.” 
For  the  same  reason  the  minor  artists  have  in  England  been 
exposed  to  an  especially  lamentable  waste  of  labour,  the  too 
well-known  “ malady  of  detail.”  w 

Yet  a true  principle  of  good  work  in  drawing  was  stated 
in  England  quite  plainly  a hundred  years  ago  by  Sir  Joshua 
Reynolds.  In  his  fortieth  note  on  Du  Fresnoy’s  poem  on  the 
art  of  painting,  when  he  dwells  upon  the  necessity  for  breadth, 
he  gives  an  instance  to  show  what  breadth  is. 

“To  illustrate  this,  we  may  have  recourse  to  Titian’s 
bunch  of  grapes,  which  we  will  suppose  placed  so  as  to  re- 
jeive  a broad  light  and  shadow.  Here,  though  each  indi- 
vidual grape  on  the  light  side  has  its  light,  and  shadow,  and 
reflection,  yet  altogether  they  make  but  one  broad  mass  of 
light : the  slightest  sketch , therefore , where  this  breadth  is  pre- 

* This  is  an  expression  of  Charlet’s,  and  a just  one.  The  attention  to  detail  at 
Jie  expense  of  the  large  relations  between  masses,  is  due  to  an  overwrought  state 
jf  the  attention  which  does  not  indicate  perfect  mental  balance.  A good  instance 
of  it  in  poetry  is  in  Tennyson’s  Maud  (xxiii.),  where  the  morbid  hero  is  so  taken 
up  with  a tiny  shell  on  the  Breton  shore,  that  it  occupies  an  inordinate  space  in  the 
poem  (twenty-nine  verses),  though  it  is  an  accidental  bit  of  detail.  This  is  quite 
characteristic  of  the  morbid  mind. 


252  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


served ’ will  have  a better  effect , will  have  more  the  appearance 
of  coming  from  a master-hand , that  is,  in  other  words,  will 
have  more  the  characteristic  and  generale  of  nature  than  the 
most  laborious  finishing  where  this  breadth  is  lost  or  neglected! 

A century  later  Mr.  Seymour  Haden  wrote  an  article  in 
the  Fine  Arts  Quarterly  Reviews,  which  inculcated  the  same 
principle. 

“ What,  then,  is  the  amount  and  kind  of  previous  know- 
ledge and  skill  required  by  the  etcher  ? It  is  an  innate 
artistic  spirit,  without  which  all  the  study  in  the  world  is 
useless.  It  is  the  cultivation  of  this  spirit,  not  arduously  but 
lovingly.  It  is  the  knowledge  that  is  acquired  by  a life  of 
devotion  to  what  is  true  and  beautiful — by  the  daily  and 
hourly  habit  of  weighing  and  comparing  what  we  see  in 
nature,  and  thinking  of  how  it  should  be  represented  in  art. 
It  is  the  habit  of  constant  observation  of  great  things  and 
small,  and  the  experience  that  springs  from  it.  It  is  taste 
which,  a celebrated  painter  once  said,  but  not  truly,  is  rarer 
than  genius.  The  skill  that  grows  out  of  these  habits  is  the 
skill  required  by  the  etcher.  It  is  the  skill  of  the  analyst  and 
the  synthetist,  the  skill  to  combine,  and  the  skill  to  separate — to 
compound  and  to  simplify — to  detach  plane  from  plane — to  fuse 
detail  into  mass — to  subordinate  definition  to  space , distance \ 
light,  and  air.  Finally,  it  is  the  acumen  to  perceive  the  near 
relationship  that  expression  bears  to  form,  and  the  skill  to 
draw  them — not  separately — but  together.” 

There  have  never  been  wanting,  since  art  was  practised  in 
England,  countrymen  of  ours  who  understood  these  things, 
and,  therefore,  who  understood  etching,  but  they  have  been 
too  few  in  number  to  encourage  sufficiently  an  art  which 
depends  upon  a multiplicity  of  buyers.  It  is  necessary  here 
to  enter  briefly  upon  a question  foreign  to  artistic  considera- 
tions, the  purely  commercial  question.  The  fine  arts  depend 
upon  a sufficient  sale  of  their  products.  This  brings  us  to 
one  of  the  most  surprising  peculiarities  in  the  commerce  of 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  253 


the  fine  arts,  one  of  those  peculiarities  which  no  human  being 
would  ever  guess  by  his  own  wisdom,  but  which  the  experi- 
ence of  business  teaches  us.  To  a person  not  practically 
versed  in  such  matters,  it  would  seem  that  the  power  of 
multiplying  a work  of  art  would  be  a source  of  wealth  to  the 
artist.  It  certainly  would  be  so  in  any  manufacture  which 
had  simple  utility  for  its  purpose,  and  was  not  in  any  way 
dependent  upon  opinion.  No  one  could  create  a fortune  by 
making  steel  pens,  if  steel  pens  were  not  multipliable  by  the 
million.  Nobody  could  become  rich  by  drawing  designs  on 
calico,  but  calico-printers  become  immensely  wealthy  by 
multiplying  such  designs.  In  the  region  of  fine  art,  on  the 
contrary,  the  productions  which  are  multipliable  bring  in 
less  to  the  producer  than  those  which  are  not  multipliable, 
and  it  is  positively  a misfortune  for  an  art  that  its  products 
should  have  facilities  for  being  multiplied.  Painting  is  luc- 
rative, because  every  picture  is  unique.  If  pictures  could  be 
printed  in  perfect  colour,  no  single  copy  would  be  worth 
more  than  a small  fraction  of  what  the  original  is  now,  and 
it  is  likely  that  after  deducting  the  expenses  of  printing, 
with  the  profits  of  the  publishing  and  the  retail  trade,  the 
net  proceeds  for  the  author  of  the  work  would  be  much  less 
than  they  are  at  present.  There  is,  indeed,  another  side  to 
the  question  which  we  may  not  altogether  overlook.  When 
the  sale  of  a work  of  art  is  very  great,  then  indeed  the  aggre- 
gation of  small  profits  on  many  copies  is  a compensation  for 
the  loss  of  uniqueness  in  one  of  them.  A very  popular 
novelist  is  a producer  of  works  of  art  who  finds  it  greatly  to 
his  advantage  to  be  able  to  multiply  his  products.  But  now 
consider  the  position  of  the  etcher.  His  work  is  not  unique, 
on  the  one  hand,  like  that  of  the  painter,  and  on  the  other 
hand,  although  it  could  be  multiplied  as  novels  are,  if  there 
were  a demand  for  it,  this  is  not  practically  an  advantage 
owing  to  the  absence  of  such  a demand.  The  etcher  has, 
therefore,  to  a certain  extent  the  disadvantages  of  artists  in 


254  THE  REVIVAL  OF  ETCHING  IN  ENGLAND . 


colour  and  artists  in  language,  without  enjoying  enough  of 
the  advantages  of  either  to  be  a compensation.  His  works 
are  multiplied,  and  therefore  they  are  not  unique,  but  they 
are  not  multiplied  enough. 

The  commercial  experience  of  artists  who  can  etch  and 
paint  equally  well  is,  that  they  cannot  afford  to  etch.  This  is 
the  real  reason  why  so  little  has  been  accomplished  by  the 
English  school.  Collectors  will  give  a thousand  pounds,  or 
three  thousand,  for  a picture,  but  they  will  give  a high  price 
for  an  etching  only  when  other  people  cannot  get  it,  and  in 
the  case  of  a new  plate  it  is  known  that  anybody  can  get  it 
“Men  do  not  purchase  pictures,”  Archdeacon  Fisher  wrote  to 
Constable,  “because  they  admire  them,  but  because  others 
covet  them”  The  truth  is,  that  the  motives  for  purchasing 
are  mixed,  but  that  one  of  them  is  to  have  the  satisfaction  of 
being  envied.  This  accounts  for  the  extraordinary  value  of 
unique  things. 

Etching  has  been  practically  sustained  in  England  by  the 
occasional  labours  of  painters  who  have  worked  simply  from  an 
interest  in  the  art.  A few  of  them  have  reached  considerable 
technical  skill,  even  in  this  desultory  way,  and  with  this  very 
slight  degree  of  external  encouragement,  one  or  two  have 
produced  etchings  which  will  bear  comparison  with  the  finest 
work  of  other  countries  and  times.  Many  amateurs  have 
attempted  etching  in  England,  and  a very  few  have  succeeded. 

Etching  clubs  existed  in  England  long  before  the  founda- 
tion of  the  French  Societe  des  Aquafortistes.  The  elder  club 
was  composed  from  the  first  of  many  well-known  painters, 
who  met  together  in  a friendly  way,  and  illustrated  some 
favourite  poet,  or  combined  to  publish  their  own  independent 
inventions.  Their  first  publication  was  the  Deserted  Village 
of  Goldsmith,  accompanied  by  eighty  etchings  of  small  size, 
and  finished  carefully.  Many  of  them  are  very  pretty,  and 
they  have  a predominating  character,  evidently  derived  from 
the  delicate  little  engravers’  vignettes  which  were  common 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  255 


in  the  days  of  the  annuals.  There  is  no  strong  or  immortal 
work  in  the  volume,  but  it  is  often  interesting  and  even 
charming,  with  a graceful  drawing-room  sentiment.  It  is 
curious  how  this  sentiment  pervades  the  work  of  all  the 
contributors ; they  never  attempt  anything  beyond  it,  but  rarely 
fall  short  of  it.  In  1844  the  club  published  a series  of  plates, 
called  Etched  Thoughts , which  included  one  or  two  charming 
etchings  by  Creswick,  but  in  this  work  the  members  of  the 
club  no  longer  had  in  view  the  minute  prettiness  of  their  first 
publication,  and  had  not  as  yet  replaced  that  prettiness  by 
any  more  serious  quality.  In  1847  the  club  illustrated  Gray’s 
Elegy,  and  in  1849  Milton’s  V Allegro,  these  two  series  of 
etchings  being,  in  point  of  composition  and  artistic  sentiment, 
very  like  an  average  academy  exhibition.  In  1852  the  club 
illustrated  the  Songs  of  Shakespeare , and  this  was  the  most 
beautiful  of  their  publications.  In  it  they  fully  developed 
their  manner  of  work,  the  results  of  former  practice  being 
concentrated  in  each  plate.  The  next  four  years  pass  without 
any  publication,  but  the  year  1857  *s  marked  by  the  issue  of 
thirty  plates,  entitled  Etchings  for  the  Art  Union  of  London, 
some  of  which  are  valuable.  The  next  interval  is  longer  still, 
for  it  is  not  until  eight  years  afterwards  that  the  club  issues 
its  following  publication,  entitled  A Selection  of  Etchings  by 
the  Etching  Club , published  by  Cundall,  1865.  This  selection 
consisted  of  twelve  plates  on  a larger  scale  than  was  at  that 
time  usual  in  England.  On  the  whole,  this  is  the  strongest 
work  the  club  has  issued.  The  Haden  and  Hook  are  both 
exceedingly  fine ; the  “ Summer  Woods,”  by  Redgrave,  is  a 
charming  piece  of  sylvan  scenery;  the  “Duenna’s  Return”  is 
Horsley’s  best  etching  ; the  “ Herdsman,”  by  Samuel  Palmer, 
is  one  of  his  three  noblest  works,  and  the  “ Creswick  ” is  at 
least  as  good  as  Creswick’s  average,  which  was  never  a low 
average. 

The  misfortune  of  the  English  Club  has  been  that,  in 
endeavouring  to  please  an  uneducated  public,  it  has  too  often 


256  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


aimed  at  making  etching  pretty.  The  art  is  versatile  enough 
for  anything,  and  if  you  aim  at  prettiness  you  may  attain  it, 
but  every  art  has  its  own  especial  tendencies,  and  it  does  not 
seem  that  the  tendencies  of  etching  lie  in  that  direction. 
A strong  direct  expression  of  consummate  knowledge  and 
passionate  feeling  are  what  the  art  is  best  suited  for,  and 
most  of  its  grandest  works  are  not  only  not  pretty,  but  their 
qualities  are  vigorously  the  opposite  of  prettiness.  Whilst 
fully  recognising  the  different  merits  of  English  work,  its 
sincerity  in  the  study  of  nature,  its  general  absence  of  false 
pretension,  its  good  intellectual  or  literary  qualities  which 
enable  it  to  interpret  the  masterpieces  of  literature,  often  with 
great  liveliness  and  a true  sympathy  with  the  writers,  I have 
always  regretted  that  on  the  technical  and  purely  artistic  side 
it  should  have  done  so  little  towards  educating  a public 
which  needed  educating  so  much.  There  has  been  a technical 
mistake,  too,  in  very  much  English  etching,  that  of  struggling 
painfully  after  tone.  The  failures  to  which  this  led  are  so 
obvious  that  they  made  me  speak  of  some  English  etching,  in 
the  first  edition  of  this  work,  with  a degree  of  severity  which  I 
have  since  regretted,  not  that  I wrote  anything  which  was 
untrue,  but  what  I did  write  might  have  been  expressed  more 
kindly.  Yet  I was  not  alone  in  the  dislike  to  that  kind  of 
shading  which  is  at  the  same  time  elaborate  and  false  in 
its  tonic  relations.  Mr.  Ruskin  wrote  against  it  later,  briefly 
and  decisively,  going  much  farther  than  I had  done,  and 
asserting  that  complete  light  and  shade  was  never  possible  in 
the  art  at  all,  whilst  all  good  etchings  were  done  with  few  lines, 
a decision  which  at  once  condemns  the  entire  work  of  the 
English  Club*  and  the  greater  part  of  foreign  work  along  with  it. 
The  plain  truth  is,  that  the  more  we  learn  of  light  and  shade 
the  less  we  feel  able  to  endure  that  which  is  patiently  and 
elaborately  wrong  ; and  it  is  not  much  to  be  wondered  at  if  a 
critic  is  led  to  write  severe  things  when  he  sees  artists  of 

* Except  here  and  there  some  outline  sketch  by  a sculptor. 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  257 


reputation  taking  great  pains  to  shade  properly,  then  trusting 
their  work  to  an  acid  bath  which  upsets  the  relations  of  all  its 
tones,  and  finally  publishing  the  spoiled  plate.  This  is  the 
reason  why  critics  who  love  light  and  shade  most  are  likely  to 
be  the  least  tolerant  of  it  after  disasters  in  the  acid,  and  it  is 
these  very  critics  who  are  likely  to  insist  most  on  the  capacities 
of  the  line  in  etching,  because  the  line  is  so  much  less  depend- 
ent for  its  effect  upon  a precise  accuracy  in  biting. 

One  of  the  most  important  events  in  the  history  of  English 
etching  was  the  appearance  of  Mr.  Haden’s  plates  in  1866. 
Full  justice  is  done  to  the  merits  of  these  works  in  the  present 
volume,  so  that  the  reader  will  not  suspect  me  of  undervaluing 
them,  if  I express  my  lasting  astonishment  at  their  immediate 
and  decisive  success.  The  public  was  apparently  very  little 
prepared  to  appreciate  work  of  that  uncondescending  kind, 
and  the  press  had  never  shown  much  knowledge  of  the 
subject,  yet  the  native  force  of  Mr.  Haden’s  manner  overcame 
the  general  apathy,  and  great  numbers  of  people  who  had 
never  heard  of  etching  before,  or  who  thought  it  meant  draw- 
ing with  the  pen,  were  made  aware  of  the  existence  of  the 
art  by  the  articles  on  Mr.  Haden’s  publication.  It  seldom 
happens  that  the  fashion  selects  the  best  man,  but  in  this 
instance  it  really  did  so  in  one  especial  sense.  Several 
members  of  the  Etching  Club  were  more  experienced  artists 
than  Mr.  Haden,  but  not  one  of  them  was  so  purely  and 
essentially  the  etcher.  It  was  even  an  advantage  to  him  to 
be  an  amateur,  for  not  having  the  habits  of  either  a painter 
or  an  engraver,  he  formed  for  himself  a set  of  habits  adapted 
to  his  own  peculiar  branch  of  art,  and  entered  into  the  spirit 
of  it  without  reference  to  any  other.  The  quotation  already 
given  from  an  article  of  his  in  a review  has  shown  what  that 
spirit  is.  Not  only  was  Mr.  Haden’s  first  publication  entirely 
successful,  but  when,  some  years  later,  he  published  an  etching 
of  the  Agamemnon , the  public  took  copies  of  it  (at  three 
guineas  each)  in  such  quantities  that,  as  nearly  as  I can 

S 


25B  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


calculate,  the  time  spent  upon  the  plate  must  have  been  paid 
for  at  the  rate  of  a guinea  a minute  * 

As  we  are  enumerating  the  different  causes  which  have 
aided  the  revival  of  etching  in  this  country,  it  would  be  an 
omission  to  pass  entirely  without  notice  the  reception  of  the 
present  volume,  which  certainly  proved  an  awakened  interest 
in  the  art.  Although,  in  its  first  form,  an  expensive  book 
and  a book  on  an  unpopular  subject,  it  rapidly  made  its  way 
and  found  a thousand  buyers,  nor  has  the  demand  for  it 
ceased  with  the  cessation  of  the  supply.  We  may  therefore 
fairly  conclude  that  it  may  have  had  some  influence  upon 
opinion,  at  least  in  drawing  attention  to  the  subject,  and  in 
provoking  the  discussion  of  problems  which  we  can  never 
thoroughly  understand  without  enlarging  our  views  of  all  the 
graphic  arts. 

Soon  after  the  first  publication  of  this  book,  it  occurred  to 
me  that  as  there  was  no  periodical  in  England  which  would 
publish  an  etching, t it  might  be  a good  thing  if  a new  one  were 
founded  which  would  make  etching  an  important  part  of  its 
system  of  illustration.  I was  much  interested,  at  the  same  time, 
in  the  new  photographic  processes  which  had  been  invented  for 
the  reproduction  of  pictures  and  designs,  and  it  seemed  to  me 
that  much  might  be  done  with  these  also.  I mentioned  this 
idea  to  a friend  who  is  a member  of  a well-known  firm  of 
publishers,  and  he  at  once  approved  of  it,  so  that  we  deter- 
mined to  start  the  Portfolio , an  art-monthly,  the  first  number 
of  which  appeared  on  the  1st  of  January  1870.  It  is  beyond 
the  province  of  these  pages  to  say  anything  of  the  literary  side 
of  this  undertaking,  which  had  its  own  purposes  and  its  own 

* This  seems  to  contradict  what  has  been  already  said  in  the  present  chapter 
about  the  public  indifference  to  etching,  but  the  case  of  the  Agamemnon  is  a very 
singular  exception  to  the  general  rule.  The  reader  will  understand  that  I cannot 
mention  instances  of  failure,  which  have  been  much  more  frequent. 

+ I mean  as  a work  of  art.  A few  etchings  may  have  been  published  in  one  or 
two  of  the  older  magazines,  but  simply  as  comic  illustrations,  or  likenesses  of  cele- 
brated men,  not  for  artistic  interest  or  quality. 


THE  REVIVAL  OF  ETCHING  IN  ENGLAND.  259 


difficulties.  With  regard  to  the  illustrations,  my  plan  was  to 
encourage  etching  chiefly,  but,  at  the  same  time,  to  keep 
well  on  the  look-out  for  improvements  in  other  processes, 
and  to  adopt  them  as  soon  as  ever  they  proved  to  be  practi- 
cally valuable.  Although  intended  only  for  a cultivated  class 
of  readers,  the  Portfolio  succeeded  in  establishing  itself,  and 
has  gradually  strengthened  its  position.  It  deserves  mention 
in  this  volume  for  the  same  reason  which  induced  me  to 
mention  V Artiste  and  the  Gazette  des  Beaux  Arts.  It  has 
already  published  a very  considerable  quantity  of  etchings, 
many  of  them  by  the  best  artists  in  Europe,  and  it  is  con- 
stantly adding  to  their  number.  In  one  respect,  however,  the 
result  has  been  rather  disappointing  to  me.  I had  hoped 
that  a periodical  of  this  kind  would  be  useful  as  an  encourage- 
ment to  the  practice  of  the  art  in  England,  but  our  most 
active  artistic  contributors  have  hitherto  been  foreigners. 
Even  the  series  of  etchings  from  pictures  in  the  National 
Gallery,  which  is  the  most  important  enterprise  hitherto 
undertaken  by  the  Portfolio , an  enterprise  indeed  of  truly 
national  importance,  has  been  hitherto  dependent  for  its 
realisation  upon  the  talents  of  the  best  continental  etchers, 
who  were  induced  to  come  to  England  expressly  for  the 
undertaking*  Until  the  foundation  of  the  Portfolio  no 
English  publisher  would  give  a commission  for  an  etching, 
except  for  comic  illustrations  to  novels,  which  were  ordered 
for  their  comic,  and  not  their  artistic  qualities,  and  etching 
was  employed  for  these  because  it  could  be  done  rapidly,  and 
because  the  caricaturists  found  that  the  facility  of  the  point 
was  a convenience  to  them  for  giving  expression  to  their 
Harry  Lorrequers  and  Charles  O’Malleys.  The  true  art  was 

* This  has  not  been  due  to  any  prejudice  in  favour  of  foreign  work  on  the 
part  of  the  editor,  but  simply  to  the  fact  that  there  are  so  few  men  in  England  able 
to  etch  well  enough,  and  that  these  few  are  always  busy  painting.  It  would  be 
impossible  for  the  Portfolio  to  keep  up  to  any  high  standard  of  production  without 
powerful  help  from  abroad.  There  is  a good  deal  of  amateur  activity  in  England, 
but  the  produce  of  it  is  very  rarely  acceptable. 


260  THE  REVIVAL  OF  ETCHING  IN  ENGLAND. 


absolutely  deprived  of  all  encouragement  in  money,*  and  was 
kept  alive  only  by  the  occasional  labours  of  a few  painters 
who  pursued  it  in  their  hours  of  leisure.  It  was  rather 
fashionable  at  one  time  amongst  ladies  as  an  amusement,  and 
a manual  of  the  process  was  published  for  their  guidance  ; but 
an  art  which  taxes  to  the  utmost  the  powers  of  the  most 
accomplished  artists,  and  their  patience,  is  not  well  chosen  as 
a pastime,  and  is  seldom  persevered  in  long. 

In  looking  to  the  future  of  etching  in  this  country,  I have 
some  hopes,  but  they  are  of  a very  moderate  kind.  The 
Portfolio  will  go  on  doing  its  work,  and  prevent  the  appear- 
ance of  an  etching  from  being  utterly  unfamiliar.  Once 
in  a century  some  genius  may  appear  and  attract  atten- 
tion to  the  art,  as  Mr.  Haden  did.  But  before  etching  can 
ever  be  generally  understood  in  England  there  must  be  a 
complete  revolution  in  the  national  habit  of  thinking  about 
art.  The  majority  of  Englishmen  have  hitherto  believed  art 
to  be  simply  an  imitation  of  nature  ; they  must  learn  to  think 
of  it  as  an  interpretation ; they  have  believed  it  to  be  the 
work  of  the  eye  and  the  hand ; they  must  learn  to  think  of  it 
as  “the  work  of  the  mind.” 

* Except  in  the  case  of  Mr.  Haden,  and  even  in  his  case,  the  encouragement 
came  unexpectedly  after  the  plates  were  published  at  his  own  risk,  and  no*  as  an 
inducement  to  etch  them. 


CHAPTER  II. 


TURNER. 

JN  a work  devoted  exclusively  to  one  branch  of  art,  it 
may  be  thought  that  artists  ought  to  be  studied  only  in 
that ; but  I find  that  their  labours  in  other  departments 
throw  light  upon  all  their  work,  and  when  a painter  has 
done  great  things  on  copper,  it  is  always  interesting  to  know 
what  he  has  done  on  canvas.  There  is  no  difficulty  here  with 
regard  to  Turner;  his  pictures  are  so  well  known,  even  the 
collection  which  was  his  bequest  to  the  nation  represents  him 
in  all  respects  so  perfectly,  that  every  reader  who  cares  about 
art,  and  has  been  in  London,  is  sure  to  have  formed  an  opinion 
of  Turner  from  the  original  documents  themselves.  Even  in 
the  case  of  American  or  colonial  readers,  the  engravings  from 
Turner’s  pictures  in  oil  and  water-colour  give  an  idea  of  his 
quality  as  a painter  sufficiently  comprehensive  for  our  purpose. 

Of  all  his  powers,  the  one  which  just  now  most  immedi- 
ately concerns  us  is  the  minute  subdivision  of  weights  of 
colour,  as  lights  and  darks,  which  made  his  tonality  so  ela- 
borate, so  much  more  elaborate  than  that  of  the  landscape- 
painters  who  preceded  him.  This  was  the  technical  quality 
which,  more  than  any  other,  made  his  works  translate  them- 
selves so  well  in  engraving.  I have  said  that  perfect  tonality 
in  etching  is  difficult  and  rare ; there  are  instances  of  it,  but 
these  instances  are  not  numerous.  If  we  could  suppose  the 
position  of  a critic  who,  whilst  remaining  entirely  ignorant  of 
what  Turner  had  done  as  an  etcher,  had  nevertheless  made 
himself  conversant  with  the  works  of  all  the  notable  etchers, 


262 


TURNER. 


we  should  not  be  far  wrong  in  guessing  that  the  critic’s 
strongest  feeling  of  curiosity  about  the  etchings  of  Turner 
would' be  concentrated  on  this  one  point — their  tonality.  He 
would  be  anxious  to  ascertain  how  far  this  great  master  of 
tonality  had  overcome  the  difficulty  of  it  in  etching ; and  if 
with  this  feeling  he  came  across  a collection  of  Turner’s 
plates,  he  would  be  much  disappointed.  Turner  was  a first- 
rate  etcher  au  trait , but  he  did  not  trust  himself  to  carry  out 
chiaroscuro  in  etching,  and  habitually  resorted  to  mezzotint 
for  his  light  and  shade.  His  etchings  were  always  done  from 
the  beginning  with  reference  to  the  whole  arrangement  of  the 
chiaroscuro,  and  he  never  laid  a line  with  the  needle  without 
entire  understanding  of  its  utility  in  effect.  But  the  effect 
itself,  in  Turner’s  etchings,  is  always  reserved  for  mezzotint, 
and  it  results  from  this  habit  of  his,  that  Turner  is  not  so  good 
an  example  for  etchers,  or  so  interesting  a master  to  study,  as 
if  he  had  trusted  to  pure  etching  for  everything. 

I had  promised  myself  in  this  part  of  the  book  to  avoid 
technical  matters  as  far  as  might  be  possible,  because  it 
appears  that  when  general  readers  come  upon  technical  ex- 
planations they  have  a way  of  skipping  them.  But  with 
reference  to  mezzotint  and  etching,  and  the  manner  of  their 
combination,  some  explanation  of  this  kind  is  inevitable. 
An  etched  shade,  as  the  reader  is  already  aware,  is  produced 
by  lines  which  are  drawn  with  a point  on  a varnished  plate 
(the  point  removing  the  varnish  where  it  passes),  and  after- 
wards bitten  in  with  aquafortis ; but  a shade  in  mezzotint  is 
left , and  the  passages  in  mezzotint  which  are  perfectly  white 
are  the  places  where  the  plate  has  been  scraped  till  the  bur  is 
all  gone,  and  then  polished  with  a burnisher.  When  etching 
and  mezzotint  are  used  in  combination  on  the  same  plate,  the 
etching  is  done  first,  and  in  simple  lines,  which  are  bitten  in 
more  deeply  than  they  would  be  if  the  plate  were  intended 
to  remain  a pure  etching ; then  the  plate  is  roughened  all 
over  with  a tool  on  purpose,  and  which  produces  bur — that  is, 


TURNER. 


263 


a raising  of  little  points  of  copper.  These  little  points,  which 
are  raised  by  millions,  all  catch  the  ink  in  printing,  and  would 
yield  an  intense  black  if  they  were  not  removed.  They  are 
accordingly  partially  removed  with  the  scraper  when  lighter 
darks  are  required,  and  the  lighter  the  passage  the  more  the 
bur  is  cleared  away,  till  finally  in  high  lights  it  is  removed 
altogether,  and  the  plate  in  these  places  is  burnished.  Now, 
the  difference  between  etching  with  a view  to  mezzotint,  and 
etching  with  no  such  intention,  is  very  great.  The  etcher  for 
mezzotint  is  satisfied  with  selecting  and  laying  down  the  most 
necessary  and  expressive  lines,  the  great  guiding  lines,  and 
does  not  trouble  himself  about  shading,  except  so  far  as  to 
leave  the  plate  in  a condition  to  be  shaded  properly  in  mezzo- 
tint : whereas  the  worker  in  pure  etching  not  only  gives  the 
selected  and  expressive  guiding  lines,  but  portions  of  shade 
along  with  them,  and  at  the  same  time  ; and  the  more  skilful 
he  is  as  an  etcher,  the  more  simultaneous  he  is  in  method, 
giving  shade  and  line  together  from  the  beginning,  especially 
if  he  works  in  the  acid. 

The  power  of  Turner  as  an  etcher  was  his  power  of  select- 
ing main  lines,  and  drawing  them  firmly  and  vigorously.  In 
this  respect  no  landscape  etcher  ever  surpassed  him  ; and  if 
his  etchings  are  studied  as  examples  of  line  selection,  they  can 
do  nothing  but  good,  if  we  only  bear  in  mind  that  they  are 
preparations  for  mezzotint. 

Another  point  that  we  cannot  safely  lose  sight  of  is,  that 
they  were  not  intended  to  be  printed  in  black,  but  in  a rich 
reddish  brown,  so  that  the  fear  of  over-biting  was  considerably 
lessened,  and  in  the  heavy  foreground  markings  Turner  did 
not  hesitate  to  corrode  the  lines  to  such  a depth  that  the  paper 
was  really  embossed  in  the  printing,  and  a student  of  art  who 
had  become  blind,  might  recognise  a particular  plate  by  pass- 
ing his  fingers  over  the  back  of  the  impressed  proof.  One  of 
the  most  curious  instances  of  this  is  the  “Jason”  in  the  “ Liber 
Studiorum.”  There  is  a shadow  under  the  tree  to  the  left, 


2O4 


TURNER. 


which  is  like  the  bars  of  a portcullis.  The  scales  of  the  dragon, 
the  heavy  indications  of  trees,  the  foreground  markings  of 
vegetation,  are  all  so  bitten  that  the  paper  shows  them  behind 
in  deeply  sunken  hollows.  From  these  tremendous  corrosions, 
Turner  passed  to  light  indications  of  distance,  as,  for  instance, 
in  the  unpublished  plate  of  Dumbarton,  which  gives  one  of 
the  most  delicate  and  charming  distances  ever  etched.  There 
is  a small  rough  etching  of  Eton,  with  a man  ploughing,  with- 
out mezzotint,  which  is  a good  instance  of  Turner’s  tendencies 
in  biting,  and  is  one  of  the  most  interesting  of  his  attempts, 
because  it  shows  in  exaggeration  the  sort  of  quality  he  aimed 
at  in  etching. 

It  is  not  fair  or  just  to  Turner  to  judge  him  as  an  etcher 
by  taking  proofs  of  plates  which  were  obviously  intended  for 
mezzotint,  and  many  of  which  have  since  received  mezzotint, 
either  from  his  own  hand  or  that  of  his  engraver.  From  a 
desire  to  economise  time,  or  perhaps  simply  from  imitation 
of  Claude’s  “ Liber  Veritatis,”  Turner  never  relied  upon  etching 
to  render  effect,  and  does  not  seem  ever  to  have  studied  it  as 
an  independent  art.  The  kind  of  work  he  aimed  at  in  etching 
was  an  indication  of  form,  like  the  pen-work  with  which  he 
would  often  add  firmness  and  precision  to  a sepia  drawing. 
The  wash  with  the  brush  was  to  be  imitated  in  mezzotint,  and 
the  difference  between  his  combination  of  sepia  and  pen-draw- 
ing, and  his  combination  of  mezzotint  and  etching,  was  chiefly 
a difference  in  the  order  of  procedure.  When  he  worked  on 
paper,  the  broad  washes  were  first  given,  and  the  pen-markings 
added  at  the  last ; but  when  he  worked  on  copper,  the  lines 
were  etched  first,  and  then  the  shades  added  by  himself  or 
another  engraver.  This  reversal  of  method  offered,  of  course, 
no  difficulty  whatever  to  Turner,  who,  having  a perfect  hold 
of  his  subject,  could  treat  it  in  any  way  he  liked  ; and  what  I 
infer  from  his  choice  of  this  combination  is,  that  Turner  was 
not  anxious  to  win  celebrity  as  an  etcher,  but  merely  used 
etching  and  mezzotint  as  the  most  convenient  processes 


TURNER. 


265 


for  rendering  his  sepia  studies.  In  this  want  of  an  etcher's 
ambition  lies  the  distinction  between  Turner  and  some  other 
great  men  who  have  employed  the  process.  He  made  use  of 
etching  as  an  auxiliary,  and  worked  well  within  the  limits  of 
the  sort  of  etching  he  proposed  to  himself,  but  he  never  tried 
what  the  process  was  capable  of.  It  would  have  been  much 
more  interesting  to  students  of  this  particular  art,  if  Turner 
had  been  thrown  entirely  on  his  own  resources,  without  the 
help  of  mezzotint ; and  it  would  have  been  especially  interest- 
ing to  see  how  far  in  pure  etching  he  could  have  rendered  the 
marvellous  subdivisions  of  tonic  values  which  we  wonder  at  in 
his  pictures  and  drawings.  As  a mezzotint  engraver,  Turner 
ranks  exceedingly  high,  but  his  merits  in  that  art  are  be- 
yond our  present  purpose.  One  thing,  however,  cannot  be 
outside  of  our  province,  the  possibility  which  etching  pos- 
sesses of  happy  combination  with  mezzotint,  and  of  which 
Turner  so  successfully  availed  himself.  It  is  certainly  a 
fortunate  quality  in  an  art  to  be  complementary  of  another 
art,  so  that  the  two  together  produce  results  of  remarkable 
value  at  a minimum  cost  of  labour.  The  great  freedom  and 
force  of  the  etched  line,  its  immense  power  of  firm  and  rapid 
indication,  are  exactly  the  qualities  in  which  mezzotint  is  most 
deficient ; and  though  etching  can  by  shading,  especially  if 
helped  by  dry-point  work,  arrive  at  chiaroscuro  not  less 
elaborate  than  that  of  the  mezzotint  engraver,  it  achieves 
this  at  an  expense  of  toil  and  effort  which  it  is  not  an  exaggera- 
tion to  estimate  at  three  times  the  labour  which  he  gives  for 
the  same  result.  It  is  remarkable  that,  in  spite  of  the  value 
now  attached  to  the  prints  in  the  “Liber  Studiorum,”  this 
marriage  of  two  arts  so  naturally  complementary  has  not  been 
more  frequently  repeated;  but  when  Turner  issued  these 
plates  they  had  little  success,  quantities  of  fine  proofs  from 
them  were  used  to  light  fires,  and  if  they  have  risen  since  then 
in  market  value,  so  that  a complete  set  of  them  is  now  worth 
hundreds  of  pounds,  the  rise  is  to  be  attributed,  not  to  any 


266 


TURNER. 


appreciation  of  their  quality  as  art,  but  to  the  fame  which 
Turner  acquired  in  other  ways,  and  chiefly  by  popular  en- 
gravings from  his  water-colour  drawings.  When  an  artist  has 
once  become  famous,  people  buy  his  works  whether  they  like 
them  or  not,  and  they  end  by  believing  that  they  like  them  ; 
but  the  prints  in  the  " Liber  Studiorum  ” have  never  been 
really  popular,  and  even  now,  when  the  public  may  still  get 
some  of  them  for  a few  shillings  each,  they  generally  prefer 
a showy  print  from  Landseer  or  Frith.  The  combination  of 
etching  with  mezzotint  may,  however,  as  art-culture  advances, 
become  sufficiently  popular  to  be  employed  in  landscape 
illustration  on  a more  'extensive  scale  ; and  if  this  should  ever 
be,  the  etchers  of  the  future  will  have  the  advantage  of  models, 
in  the  etchings  of  Turner,  of  which  it  is  not  too  much  to  say 
that  on  all  technical  points,  in  the  application  of  artistic 
judgment  to  method,  they  are  so  sound  and  safe  as  to  be 
beyond  criticism. 

Of  his  mental  grasp,  of  his  imagination,  it  is  scarcely  neces- 
sary to  speak  here,  but  a few  words  on  the  preparatory  studies 
which  led  to  his  success  as  an  etcher  will  not  be  out  of  place. 
He  was  much  in  the  habit  of  drawing  forms  with  the pomt  of 
a sharply  cut  and  rather  hard  lead  pencil,  and  the  transition 
from  this  to  the  etching  needle  was  natural  and  easy.  In  his 
system  of  study  he  divided  form  from  light  and  shade,  and 
afterwards  carried  out  the  division  in  his  etchings,  using  the 
needle  for  form  and  the  scraper  for  light  and  shade  ; but  there 
is  a subtle  difference  between  his  etchings  and  his  point-draw- 
ings. In  the  point- drawings,  form  is  often  indicated  with  very 
little  reference  to  light  and  shade  ; in  the  etchings  the  arrange- 
ment for  chiaroscuro  is  always  present  in  Turner’s  mind  when 
he  lays  his  lines,  and  he  omits  all  lines  which  interfere  with  it, 
or  even  which  are  simply  useless  to  it.  This  is  a great  secret, 
an  open  secret,  yet  one  hidden  from  many  artists  and  nearly 
all  amateurs. 

It  would  not  be  right  to  leave  Turner  without  acknow- 


TURNER. 


267 


Iedgment  of  the  very  unusual  manliness  of  his  manner  as  an 
etcher,  a manliness  unfortunately  rare  in  the  English  school. 
His  grasp  of  rock  and  tree  and  mountain,  his  feeling  of 
wildness  on  desolate  moor  and  black  tarn,  his  fisherman’s 
sense  of  the  strength  of  stout  old  boats,  his  understanding 
generally  of  the  nature  of  material  resistance  in  everything, 
are  so  masculine,  that  a few  touches  of  his  reveal  more  of  the 
true  nature  of  matter  in  any  form  than  the  most  laboured 
work  of  our  imitative  school.  A power  of  this  kind  is  felt  at 
once  by  minds  which  are  themselves  capable  of  the  same 
masculine  perception,  though  in  far  inferior  degree,  but  it  is 
not  possible  to  convey  by  explanation  in  what  this  power 
consists.  It  is  not  in  thickness  of  lines,  or  in  depth  of  biting, 
or  in  manual  decision,  for  a line  may  be  both  broad  and  deep 
and  decided,  and  yet  indicate  no  perception  of  the  nature  of 
an  object : it  is  in  his  intense  sense  of  the  nature  of  things 
that  such  a man  as  Turner  finds  the  elements  of  his  force. 
And  a sense  of  this  kind  does  not  lead  to  popularity,  because 
it  does  not  lead  to  prettiness.  I have  never  met  with  a person 
not  artistically  educated  who,  without  being  prompted,  saw 
anything  in  the  etchings  of  Turner,  still  less  perceived  that 
they  were  the  strongest  things  done  in  modern  times  with  the 
etching  needle.  The  perception  of  the  nature  of  matter  is 
very  rare  in  the  educated  classes,  because  education  is  far  too 
exclusively  literary,  and  the  most  obtuse  men  in  this  respect 
are  the  men  of  erudition.  It  would  be  easier  to  explain 
such  a power  as  this  of  Turner  to  a carpenter,  or  a stone- 
cutter, or  a boat-builder,  than  to  a man  who  knows  nothing 
except  books. 

HSsacus  and  Hesperia. — Of  all  Turner’s  etchings  this  is  the 
most  remarkable  for  the  grace  and  freedom  of  its  branch- 
drawing. It  is  a piece  of  simple  brook  scenery,  and  materials 
not  less  graceful  exist  in  abundance  in  all  northern  countries 
which  are  watered  by  running  streams.  Aisacus,  the  son  of 


268 


TURNER. 


Priam,  sought  Hesperia  in  the  woods  ; and  Turner,  with  that 
love  for  water  which  characterises  all  true  landscape-painters, 
has  assigned  as  the  place  of  their  fatal  meeting  one  of  those 
sweet  little  solitudes  which  from  time  immemorial  have  been 
dear  to  poets  and  lovers.  She  is  seated  on  the  gently  sloping 
ground  at  the  edge  of  a shining  pool ; the  water  has  been 
lately  divided  by  stones,  which  to  the  left  of  the  etching  rise 
visibly  above  its  surface,  but  it  pauses  at  the  feet  of  Hesperia, 
where  she  sits,  as  she  thinks,  alone.  Abacus,  still  unperceived 
by  her,  has  just  discovered  her,  as  he  breaks  through  the 
branching  fern.  Over  the  head  of  the  nymph  bends  a boldly- 
slanting  tree,  and  whete  its  boughs  mingle,  to  the  left,  there 
is  a passage  of  such  involved  and  wild  and  intricate  beauty, 
that  I can  scarcely  name  its  equal  in  the  works  of  the  master- 
etchers.  Over  the  head  of  ALsacus,  and  between  the  trunks 
of  the  two  principal  trees,  is  a glade  full  of  tender  passages  of 
light,  which  are  chiefly  due  to  the  work  in  mezzotint,  so  that 
this  plate  may  be  taken  as  a transcendent  example  of  Turners 
power  in  both  arts.  The  brilliant  freedom  of  the  etched 
branches,  the  mellow  diffusion  of  light  in  the  tinted  glade,  are 
both  achievements  of  the  kind  which  permanently  class  an 
artist. 

Dumbarton  (unpublished). — This  plate  was  no  doubt  pre- 
pared for  mezzotint,  but  it  is  in  some  respects  an  advantage 
for  our  present  purpose  that  the  mezzotint  has  not  been  added. 
It  is  scarcely  probable,  considering  the  disposition  of  the  lines, 
that  the  effect  of  light  and  shade  was  intended  to  be  a powerful 
one.  The  artistic  motive  of  the  composition  was  space  and 
beauty,  rather  than  force  and  contrast.  The  view  is  wide  and 
fair,  and  the  last  waves  of  the  granite  ocean  which  tosses  its 
highest  crests  on  Cruachan  and  Ben  Nevis  come  undulating 
here  in  long  slopes  to  the  edge  of  the  lowland  plain.  Out  of 
the  Clyde  the  last  expression  of  the  exhausted  mountain 
energy  rises  far  off — the  fortress-rock  of  Dumbarton.  Against 
this  beautiful  distance.  Turner  will  bring  no  rudely  contrasting 


TURNER. 


269 


tree,  but  gives  us  the  slender  and  delicate  acacia,*  with  all  its 
pendent  flowers.  Leading  thus  from  the  faint  lines  of  the 
distance  to  the  stronger  work  of  the  foreground,  he  has 
obtained  by  this  transition  a natural  passage  to  the  massiveness 
of  the  great  trees  to  the  left.  The  reader  is  especially  entreated 
to  allow  himself  to  receive  impartially  the  full  and  sweet 
amenity  of  this  composition,  for  there  are  etchings  of  Turner 
in  which  his  many-sided  mind  sought  qualities  very  different 
from  amenity. 

Weedy  foreground.  Man  ploughing. — This  etching  is  not 
to  be  confounded  with  the  larger  plate  of  the  same  subject 
which  was  afterwards  engraved  in  mezzotint.  Over  the  plough 
is  a view  of  Eton  College,  and  space  has  been  left  in  the  middle 
of  the  plough  for  the  introduction  of  another  figure  : to  the 
left  a woman  sits  with  a baby  in  her  arms.  The  weeds  in  the 
foreground  are  very  heavily  bitten,  so  as  to  give  an  impression 
of  great  coarseness,  but  there  is  an  etcher’s  intelligence  even 
in  the  rude  marking.  This  habit  of  over-biting  was  due,  as  I 
have  already  observed,  to  Turner’s  preparation  for  mezzotint, 
and  intention  of  printing  in  warm  brown  instead  of  black. 
It  cannot  be  recommended  for  imitation,  unless  under  the 
same  conditions. 

Inver  ary  Pier.  Loch  Fyne.  Morning. — This  view  of 

Inverary  shows  as  well  as  anything,  in  the  “ Liber  Studiorum,” 
what  sort  of  duty  Turner  intended  his  coarse  etched  lines  to 
do.  The  combination  of  etching  with  mezzotint  was  a marriage 
of  two  opposite  arts.  Turner,  therefore,  avoided  in  his  work 
with  the  needle  every  kind  of  labour  which  might  intrude  upon 
the  domain  of  mezzotint ; he  even  did  more  than  this,  and 
purposely  sought  in  every  etched  line  a quality  the  very 
opposite  of  that  softness  and  tenderness  of  tint  which  became 
his  chief  objects  when  he  took  up  the  tools  of  the  engraver. 
The  striking  contrast  between  methods  of  work  in  this  plate 

* The  tree  looks  like  an  acacia  (Robinia),  but  it  is  far  north  for  one  at  Dum« 
barton,  except  perhaps  in  a garden. 


270 


TURNER. 


is  focussed  in  the  very  centre  of  it.  The  pale  mountain 
towards  Glen  Falloch  is  engraved  with  aerial  delicacy,  the 
morning  shadows  fall  in  soft  gradations  from  the  risen  wreaths 
of  mist,  and  against  the  very  tenderest  passage  of  all,  the 
opening  of  the  distant  glen,  come  the  stiff  mast  and  coarse 
sail  of  a fishing-boat,  of  the  firmest  and'  boldest  execution. 
The  heavily  etched  anchor  rising  out  of  the  shallow  water  in 
the  foreground  sets  its  iron  rigidity,  by  a similar  contrast  of 
method,  against  the  soft  and  liquid  surface.  To  the  left  this 
coarseness  loses  itself  more  gradually  in  greater  manual 
refinement,  and  the  transition  from  the  dark  boat  under  the 
pier  to  the  far  trees  on  the  edge  of  the  wooded  hill  is  managed 
by  a subtle  blending  of  lighter  and  shallower  bitings  with  rich 
full  shades  of  mezzotint.  The  engraving  here,  as  in  the 
“iEsacus  and  Hesperia,”  was  all  done  by  Turner’s  own  hand. 

Jason. — When  I use  the  wrord  “coarse”  in  speaking  of 
the  etchings  of  Turner,  or  any  other  master,  let  it  not  be 
understood  in  the  artistic  or  intellectual  sense,  but  only  in 
the  common  acceptation  of  the  word,  as  we  say  that  canvas 
is  coarse  when  the  threads  of  it  are  thick  and  the  spaces  large. 
There  is  as  much  artistic  feeling  in  coarse  canvas  as  in  the 
finest  web  from  the  Indian  loom,  and  the  coarseness  or  fine- 
ness of  a woven  tissue  is  a quality  merely  relative  to  the 
keenness  of  human  sight.  The  work  in  Turner’s  “Jason,” 
which  in  common  language  may  be  justly  called  coarse 
because  the  lines  of  it  are  thick  and  deep,  is,  in  the  intellectual 
sense,  considerably  more  refined  than  the  most  minute  work 
of  the  modern  English  and  Germans.  The  combination  of 
the  highest  mental  refinement  with  some  roughness  of 
material  accompaniment  is  as  natural  as  that  other  very 
common  combination,  of  perfect  visible  finish  with  low  intel- 
lectual culture.  The  reader  may  remember  Mr.  Ruskin’s 
vivid  commentary  on  the  imaginative  force  in  the  conception 
of  this  dragon ; and  it  may  be  observed  with  reference 
especially  to  etching  that  its  merely  executive  qualities  are 


TURNER. 


271 


always,  when  in  perfection,  dependent  on  imagination.  The 
few  rude  strokes  by  which  this  dragon  is  made  to  live  and 
writhe,  are,  considered  merely  as  etched  lines,  of  a quality 
incomparably  superior  to  the  most  careful  imitation  of  scales 
which  laborious  dulness  could  achieve  with  a month’s  toil  ; 
and  so  with  the  wild  branches  of  the  fallen  trunk  on  which 
Jason  leans  as  he  watches  his  enemy,  and  the  hasty  sketching 
of  the  skeleton  in  the  corner.  Of  the  mezzotint  work  I say 
nothing,  because  it  is  not  by  Turner’s  own  hand. 

Calm. — This  subject  is  one  of  the  most  valuable  in  the 
“ Liber  Studiorum,”  as  an  illustration  of  the  distinct  purposes 
to  which  Turner  applied  etching  and  mezzotint.  It  is  a 
group  of  boats  on  glassy  sea,  within  a mile  of  shore.  There 
is  a small  boat  in  the  immediate  foreground,  with  five  figures 
in  it  and  no  sail ; the  central  group  is  composed  of  hay-boats 
and  fishing-boats,  their  sails  hanging  idly  from  the  masts  to 
catch  the  expected  breeze.  The  cock-boat,  with  the  figures, 
is  etched  as  coarsely  and  vigorously  as  possible  ; the  two 
fishing-boats  in  the  centre  are  etched  with  moderate  strength  ; 
a hay-boat  beyond  is  just  indicated  with  the  needle,  and 
beyond  that  the  vessels  are  hardly  etched  at  all,  being  made 
out,  almost  exclusively,  by  various  delicate  tiijts  obtained  with 
the  scraper  and  burnisher.  This  is  one  of  the  most  admirable 
examples  of  complete  tonality  in  the  whole  range  of  Turner’s 
works,  but  its  value  in  this  respect  depends  little  upon  the 
etched  lines.  The  lines  are  right  and  true  in  their  places, 
and  could  not  be  spared  ; they  give  by  their  force  an  extra- 
ordinary delicacy  to  the  mezzotint,  but  almost  all  the  tonic 
values  are  obtained  in  mezzotint  alone.  It  is  evident  that 
Turner  looked  upon  etching  merely  as  the  skeleton  of  his 
work,  and  relied  upon  mezzotint  for  its  softer  beauty  and 
more  attractive  charm. 

Little  Devil's  Bridge , over  the  Russ  above  Altdorft. — The 
heavy  etching  of  the  rock  and  pines  to  the  left,  and  of  the 
riven  tree  on  the  isolated  central  rock,  has  the  artistic  advan- 


272 


TURNER . 


tage  of  harmonising  with  the  rugged  material.  When  the 
foreground  is  occupied  by  things  whose  nature  is  opposed  to 
human  effeminacy,  and  affords  enjoyment  to  none  but  our 
hardiest  instincts,  the  iron  pencil  may  be  blunt  and  strong, 
and  the  hand  of  the  artist  resolute ; but  we  might  not  safely 
infer  from  the  success  of  such  work  as  this  that  it  w'ould  be 
well  to  apply  a like  method  to  all  foregrounds.  A living 
aquafortist  has  advanced  the  theory  that  all  foreground  work 
should  be  open  and  coarse,  and  that  the  lines  should  become 
finer  and  closer  as  they  recede  into  the  distance.  In  the  case 
of  a subject  of  this  kind  the  theory  is  sound  ; but  when, 
instead  of  an  impression  of  wildness,  we  would  convey  an 
invitation  to  repose,  it  may  be  wiser  to  allure  the  spectator 
by  surfaces  which  promise  him  ease.  Mountain  scenery 
has  hitherto  been  very  incompletely  illustrated  in  etching. 
There  are  immense  difficulties  in  the  treatment  of  distant 
effect  which  have  not  yet  been  overcome  either  by  the  old 
masters  or  our  contemporaries.  Turner’s  use  of  mezzotint 
was  an  evasion  of  these  difficulties,  and  the  effect  of  drifting 
mist  and  broken  light  beyond  the  bridge  in  this  design  is 
rendered  in  pure  mezzotint 


PLATE  X. 


ROCKS  AND  PINES, 
After  J.  M.  W.  TURNER,  R.A. 


Copied  by  the  Author. 


PLATE  X. 

(To  be  placed  opposite  page  272.) 

I 

Rocks  and  Pines,  after  J.  M.  W.  Turner,  R.A. 

Copied  by  the  Author. 

This  ’3  a portion  of  the  foreground  in  Turner’s  well-known  plate  “ Little  Devil’s 
Bridge  over  the  Russ  above  Altdorft,  Switzerland.”  The  lines  are  given  without 
the  mezzotint  to  show  Turner’s  way  of  drawing  and  biting  his  organic  lines. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

The  pines  seen  beyond  the  bridge  ..... 

The  bridge  itself  ....... 

Tops  of  the  nearest  trees 

Rocks  and  bottom  of  trunks  ...... 

H 

44 

64 

77 

In  nitric  bath  composed  of  nitric  acid  and  water  in  equal  proportions. 

Short  immersion  to  enlarge  lines  ..... 

5 

First  proof  taken 

Plate  grounded  for  rebiting. 

Plate  rebitten  with  above  nitric  bath  in  the  foreground 

H 

The  broadest  lines  enlarged  just  at  last  with  pure  nitric  acid  for  thirty 
seconds. 

Second  proof  taken. 

Plate  entirely  covered  with  brush  ground,  and  all  omitted  lines  drawn 
in  their  places. 

Plate  immersed  in  Dutch  mordant  heated  as  above  . 

60 

Third  proof  taken. 

This  plate  is  printed  here  quite  simply  without  retroussage,  and  cleaned 
with  the  hand  like  a visiting-card. 

vy 


CHAPTER  III. 


WILKIE  AND  GEDDES. 

WILKIE  has  left  two  or  three  etchings  of  first-rate 
quality  which  entitle  him  to  a high  place  in  the  ranks 
of  the  genuine  etchers.  His  etching  of  the  “ Pope  examining 
a Censer/’  and  his  dry-point  of  a gentleman  sitting  at  his 
desk  writing  a paper  for  which  a man  is  waiting,  hat  in  hand, 
are  both  equal  to  the  best  work  of  the  old  masters,  and  on 
these  two  plates  alone  a reputation  may  be  securely  founded. 
His  small  etching,  “ Reading  the  Will,”  is  very  inferior  in 
manner  of  work,  though  its  dramatic  interest  is  considerable. 
A felicitous  combination  of  etching  and  dry-point  may  be 
found  in  the  third  state  of  a small  plate  by  Wilkie,  called  in 
the  British  Museum  “Boys  and  Dogs.”  The  subject  is  two 
boys,  a girl,  and  a dog ; the  boys  are  making  a seat  with  their 
hands  for  the  girl,  who  is  not  yet  seated,  but  superintends  the 
arrangement.  This  etching  is  remarkable  for  the  extreme 
naturalness  and  ease  of  the  attitudes,  whilst  the  community 
of  purpose  unites  the  little  group  very  perfectly.  In  the  first 
state  there  is  no  dry-point  work. 

The  characteristics  of  Wilkie’s  best  plates  are  good  com- 
position and  happy  selection  of  line.  His  perception  of 
character  was,  no  doubt,  a very  great  and  rare  quality ; but 
this  will  not  save  an  etching  from  condemnation  if,  as  etching, 
the  workmanship  is  commonplace  or  wrong.  For  instance,  if 
Wilkie  had  never  done  anything  better  than  the  “ Reading  of 
the  Will,”  I should  not  have  classed  him  amongst  great 

T 


274 


WILKIE  AND  GEDDES. 


etchers.  The  dramatic  conception  is  lively  and  good,  but  the 
workmanship  is  uninteresting  and  commonplace. 

Andrew  Geddes  was  a good  etcher,  hitherto  not  sufficiently 
appreciated.  His  dry-points  are  especially  fine  ; the  one  of 
a little  girl  holding  a pear  is  charming  for  its  freedom  and 
grace.  There  is  a portrait  by  him  with  the  odd  title  “Give 
the  Devil  his  Due,”  very  luminous  and  well  modelled ; and 
another  portrait  of  a lady  in  a hood,  of  which  the  reader  is 
recommended  to  study  an  early  impression  of  the  fourth  state. 
The  hood  is  exceedingly  fine  in  dry-point  work.  His  “ Head 
of  Martin,  an  auctioneer  at  Edinburgh,”  is  very  clever  and 
characteristic  : I only  know  one  state  of  it.  His  landscape 
without  title  (a  clump  of  trees  and  wooden  building  under  it) 
is  free,  and  right  in  workmanship.  In  the  first  state  there  is 
no  signature,  and  the  sky  is  dirtied  with  sandpaper.  In  the 
second  state  the  sky  is  cleared,  but  light  indications  of  cloud 
are  introduced:  there  is  still  no  signature.  In  the  third  and 
fourth  states  there  is  a signature  in  the  right  hand  corner,  and 
a sulphur  tint  is  introduced  for  cloud.  Of  these  states  the 
second  is  technically  the  best,  and  may  be  taken  as  a fair 
example  of  dry-point.  This  landscape  and  “The  little  Girl 
with  the  Pear,”  like  the  “Pope  and  Censer”  and  “Gentleman 
at  his  Desk  ” of  Wilkie,  are  enough  of  themselves  to  entitle 
the  author  to  honourable  mention. 

WlLKIE.  The  Pope  examining  a Censer. — As  this  is  one 
of  the  finest  etchings  ever  produced  in  England,  it  may  be 
worth  while  to  inquire  what  are  the  sources  of  its  power.  The 
draughtsmanship  is  of  that  happy  kind  which,  fully  possess- 
ing precision,  allows  itself  perfect  freedom.  There  is  a close 
analogy  between  freedom  of  this  kind  and  the  freedom  of  the 
most  beautiful  manners.  Clowns  have  freedom  amongst 
themselves,  but  they  have  not  manners  ; semi-gentlemen  have 
manners  without  freedom,  because  they  think  about  rules,  and 
force  themselves  into  a disciplined  conformity ; but  in  the 


WILKIE  AND  GEDDES. 


275 


perfect  gentleman  the  time  of  discipline  is  past,  and  his 
manners  are  as  free  as  if  he  had  never  submitted  to  it.  The 
work  in  this  etching  is  so  easy,  and  at  the  same  time,  where 
necessary,  so  accurate  and  precise,  that  if  it  were  the  only 
production  of  its  author  we  should  infer  from  it  the  long 
labours  of  his  youth.  The  firm  drawing  of  the  Pope’s  face  and 
the  fingers  of  the  left  hand,  the  true  and  graceful  festooning  of 
the  rapid  lines  which  indicate  the  censer-chains,  contain  the 
two  extremes  of  freedom  and  precision  in  method,  between 
which  the  greatest  etchers  range  at  will.  The  Pontiff  has  a 
royal  naturalness  of  attitude,  and  quietly  examines  the  work 
of  the  goldsmith,  who  presents  it  humbly  on  his  knees. 

The  seat  of  hands. — This  plate  has  no  title,  but  is  marked 
in  the  British  Museum  “ Boys  and  Dogs.”  Two  boys  are 
making  a seat  by  grasping  each  other’s  arms,  and  a girl,  who 
is  going  to  sit  down  upon  it,  is  criticising  the  arrangement. 
A dog  precedes  the  party.  It  is  a graceful  little  subject,  like 
those  which  were  often  adopted  by  the  best  portrait  painters 
of  the  last  century  in  family  groups.  The  execution  is  very 
spirited  and  light.  The  rich  dry-point  work  in  the  third  state 
has  much  improved  the  plate.  The  opportunity  is  a good 
one  for  marking  the  difference  between  curiosity-collecting  and 
the  love  of  art.  I know  not  whether  the  first  state  of  this 
plate  is  rare  or  common,  but  I know  that  if  the  first  state 
is  rare,  and  the  third  common,  all  genuine  collectors  for 
curiosity  will  pay  ten  times  as  much  for  the  incomplete  as 
they  wrould  for  the  finished  work.  It  is  only  artistic  criti- 
cism which  sets  the  highest  value  on  the  latest  states.  Of 
course  the  plate  must  not  be  worn,  but  a real  judge  knows 
a good  proof  when  he  sees  it  without  any  mark  of  rarity  to 
guide  him. 

Gentleman  at  his  Desk . — A gentleman  is  seated  in  a large 
arm-chair,  and  is  writing  a receipt  at  his  desk.  A man  is 
waiting  for  the  paper,  and  stands  behind  the  chair.  The 
gentleman’s  wife  is  looking  on  whilst  he  writes.  There  is  a 


276 


WILKIE  AND  GEDDES. 


dog,  which  is  scratching  itself,  and  there  are  several  small 
details,  such  as  a boot-jack,  sticks,  etc.  Next  to  the  masterly 
indication  of  character  in  the  faces  and  attitudes,  this  plate  is 
remarkable  for  its  sound  quality  of  dry-point  work.  If  the 
reader  is  a practical  etcher,  he  ought  to  study  the  rich  effect 
of  the  background,  the  darks  under  the  bureau,  and  near  the 
gentleman’s  feet,  and  the  slight  yet  sufficient  indications  of 
detail. 

Reading  the  Will — A lawyer,  who  is  seated  on  an  old- 
fashioned  chair,  with  his  back  to  the  light  and  a large  table 
before  him,  is  reading  a will  to  expectant  heirs.  The  study 
of  expression  is  of  the  kind  which  made  Wilkie  popular,  and 
need  not  be  expatiated  upon  in  this  place.  Wilkie  seems  to 
have  hesitated  between  two  directions  as  an  aquafortist.  The 
execution  here  is  of  the  sort  common  in  England,  the  execu- 
tion of  the  “ Pope  and  Censer”  of  a sort  unfortunately  not  so 
common.  If  etching  were  limited  to  work  of  this  kind,  it 
would  be  truly  no  better  than  a somewhat  easier  substitute 
for  engraving  ; having  indeed  the  advantage  of  being  executed 
by  the  artist’s  own  hand,  but  beyond  this  no  special  quality  or 
power.  The  steady  equality  of  workmanship,  the  patience  to 
bring  all  things  to  an  equal  point  of  finish,  may  prove  sanity 
of  mind  and  freedom  from  all  morbid  irritability  of  nerve,  but 
it  proves  also  some  dulness  of  perception  by  its  very  impar- 
tiality, and  a state  of  mind  which  differs  from  the  high  artistic 
spirit  by  its  perceptible  tendency  towards  Philistinism.  For 
Philistinism  penetrates  even  into  the  very  realm  of  art  itself, 
and  may  be  always  known,  even  in  its  feeblest  manifestation, 
by  a sort  of  prosy  conscientiousness. 

i 

GEDDES.  Little  girl  holding  a pear. — She  is  seated  on  the 
ground,  and  wears  a white  dress  ; her  head  is  relieved  against 
a dark  tree  ; she  holds  out  a pear  in  her  left  hand.  The  dress 
is  very  slightly  indicated.  The  whole  work  is  in  dry-point. 


WILKIE  AND  GEDDES. 


277 


It  is  so  natural  and  graceful  that  it  reminds  us  of  the  portraits 
of  children  in  the  best  age  of  English  portraiture. 

Landscape. — In  cases  where  there  is  no  title,  which  too 
frequently  happens  with  etchings,  it  becomes  necessary  to  give 
some  brief  description  by  which  the  plate  alluded  to  may  be 
recognised.  In  this  we  have  a clump  of  trees  and  a wooden 
building.  I11  the  foreground  to  the  left  there  is  a low  arch  in 
the  earth,  built  of  stone.  In  the  later  states  there  is  a dark 
cloud  behind  the  building.  With  the  exception  of  the  cloud 
the  plate  is  executed  in  dry-point.  The  subject  is  simple,  and 
Geddes  was  not  a master  of  landscape,  but  his  manner  of 
treatment  suited  the  means  used,  and  it  may  easily  happen 
that  accomplished  landscape  painters,  by  attempting  more, 
arrive  at  less  satisfactory  results. 


CHAPTER  IV. 


JR  US  KIN. 

JT  has  been  one  of  my  purposes  in  the  course  of  this  volume 

to  direct  the  reader’s  attention  to  the  most  opposite  kinds 
of  etching,  in  order  tha4t  he  might  fully  appreciate  the  versati- 
lity of  the  art,  and  have  the  widest  possible  field  for  technical 
choice  if  he  intended  to  practise  it.  Mr.  Ruskin’s  work  in 
etching  is  very  different  from  that  of  all  the  artists  whom  we 
have  hitherto  been  studying,  and,  therefore,  for  that  very 
reason,  if  for  no  other,  would  probably  deserve  our  attention. 
But  Mr.  Ruskin  has  other  claims  than  the  originality  which 
springs  from  perfect  sincerity.  He  draws  landscape  and 
architecture  with  the  most  delicate  feeling  and  the  clearest 
knowledge,  so  that,  although  not  professionally  an  artist,  he  is 
certainly  an  accomplished  practical  student  of  art. 

Mr.  Ruskin’s  merits  as  a draughtsman  would  perhaps  have 
obtained  a more  general  and  decided  recognition  if  they  had 
not  been  overshadowed  by  his  celebrity  as  a writer.  The  dis- 
position to  deny  capacity  in  two  different  occupations  is  so 
strong,  that  a good  writer  has  always  a peculiar  difficulty  in 
obtaining  recognition  as  a painter  or  draughtsman.  This 
prejudice  is  especially  strong  amongst  professional  painters, 
who  are  generally  slow  to  admit  the  merits  of  a student  who 
is  what  is  called  an  “ amateur,”  that  is,  who  does  not  labour 
for  his  bread.  If  they  cannot  deny  the  excellence  of  his  work, 
they  will  sometimes  even  go  so  far  as  to  say  “ he  did  not  do 
it ; some  artist  did  it  for  him.”  * 

* An  instance  of  this  came  one  day  under  my  own  observation,  and  is  mentioned 
here  because  the  case  is  a typical  one.  I was  looking  through  the  portfolios  of  an 


RUSKIN. 


279 


The  exact  truth  about  Mr.  Ruskin’s  work  in  practical  art 
seems  to  be  this  : — He  is  a thorough  student,  but  not  an  artist, 
and  if  not  an  artist  it  is  rather  from  self-imposed  limitations 
than  from  any  natural  incapacity.  I am  not  sure,  however,  that 
in  his  thinking  about  art  Mr.  Ruskin  has  ever  got  quite  clear 
of  the  prevalent  English  conception  of  it  as  a simple  imitation 
of  nature,  already  noticed  in  the  chapter  on  the  revival  of 
etching  in  England,  and  his  practice  seems  to  have  been  sub- 
servient to  this  conception.  The  desire  to  represent  nature  as 
in  a mirror,  and  the  feeling  that  the  work  is  safe  from  criticism 
when  this  is  done  as  nearly  as  the  means  at  the  disposal  of 
the  artist  will  permit,  appears  to  lie  beneath  Mr.  Ruskin’s 
practice  and  to  account,  at  the  same  time,  for  its  merits  and 
for  its  limitations.  The  mirror-theory  advocated  at  Oxford 
may  be  taken  as  evidence  of  this,  and  there  is  a sentence  in 
the  preface  to  the  fourth  volume  of  Modern  Painters  which,  in 
a very  few  words,  conveys  to  us  the  author’s  views  of  artistic 
responsibility.  Speaking  of  his  own  beautiful  drawing,  which 
was  engraved  as  a frontispiece  to  the  third  volume  under  the 
title  “ Lake,  Land,  and  Cloud,”  the  author  says — “ the  sky  is  a 
little  too  heavy  for  the  advantage  of  the  landscape  below  ; but 
I am  not  answerable  for  the  sky.  It  was  there? 

For  this  view  of  artistic  responsibility  all  that  can  be  justly 

eminent  painter  who  is  usually  very  severe  in  his  criticism  of  Mr.  Ruskin,  and 
finding  one  of  the  best  soft-ground  etchings  in  the  “ Seven  Lamps  of  Architecture,” 
I thought  the  opportunity  a good  one  for  bringing  my  friend  to  admit  some  artistic 
capability  in  the  etcher.  To  my  great  surprise,  he  entirely  agreed  in  all  I had  to 
say  in  favour  of  the  plate  ; but  when  I came  to  the  conclusion,  and  congratulated 
my  fiiend  on  having  overcome  his  prejudices  against  the  author  of  the  “Seven 
Lamps,”  he  answered  me  with  the  following  syllogism  : “A  man  ignorant  of  art 
cannot  produce  a good  etching.  Ruskin  is  ignorant  of  art,  therefore  Ruskin  has 
not  produced  this  etching.” 

The  fact  that  the  plate  was  signed  J.  R.  del.  et  sc.  made  no  difference,  and  of 
course  the  more  I showed  the  command  of  means  of  which  the  plate  gave  evidence, 
the  less  would  my  friend  believe  it  to  be  Mr.  Ruskin’s  work.  Eveiy  good  quality 
in  the  work  of  art  was  considered,  not  as  evidence  that  Mr.  Ruskin  was  an  artist, 
but  that,  being  an  amateur,  he  could  not  have  done  it. 


z8o 


RUSK  IN. 


said  is  that  it  may  be  admissible  with  reference  to  a study, 
done  for  the  student’s  own  private  instruction,  and  not  in- 
tended to  be  shown  to  the  public.  Suppose  the  case  of  an 
artist  and  his  pupil  working  together  from  nature.  The  artist 
says,  “your  sky  is  a little  too  heavy  for  the  advantage  of  the 
landscape  below ; ” the  pupil  replies,  “ I am  not  answerable 
for  the  sky,  it  was  there!  What,  after  such  a defence,  would 
be  the  master’s  most  fitting  rejoinder  ? It  would  be  something 
of  this  kind.  He  would  say — “Well,  as  a simple  piece  of 
imitation  it  may  pass,  since  you  tell  me  that  the  sky  was  there, 
but  it  would  be  well  for  you  to  begin  to  exercise  your 
judgment  as  an  artist,  and  if  this  were  a picture,  instead  of  a 
mere  memorandum,  you  would  be  fully  answerable  for  the 
sky,  and  for  everything  else,  whether  it  was  there  in  nature  or 
not.” 

Mr.  Ruskin  is  not  alone  in  the  belief  that  it  is  possible  for 
an  artist  to  relieve  himself  from  all  the  higher  artistic  respon- 
sibilities, on  the  plea  that  what  he  has  represented  is  a fact. 
It  is  a prevalent  national  error  to  believe  this,  and  to  think 
that  the  test  of  truth  is  final*  It  is  not  final.  The  essence  of 
art  is  not  to  copy  arrangements  which  actually  exist,  but  to 
make  more  admirable  arrangements  of  its  own.  When  the 
sky  does  not  suit  the  landscape  (which  very  often  happens), 

* I well  remember  being  in  the  studio  of  an  artist  in  London  when  a picture 
by  a younger  painter  was  shown  to  me,  and  I criticised  it  on  the  ground  that  a 
sharply-defined  patch  of  very  vivid  green  grass  was  injurious  to  the  balance  of 
colour.  “I  am  not  answerable  for  the  grass,”  said  the  painter,  “it  was  thej'el 
Then  the  elder  artist  said  “ Would  you  have  him  alter  nature  ? ” Neither  of  them 
seemed  to  be  aware  that  an  artist  could  be  expected  to  exercise  generalship  over 
his  material.  They  seemed  to  think  that  if  I did  not  acknowledge  the  infallibility 
of  nature  it  must  be  in  deference  to  some  conventional  rule,  and  they  said  that,  in 
their  opinion,  jiature  was  a better  authority  than  conventionalism.  Now  what  I 
advocate  is  not  authoritative  conventionalism,  but  the  iise  of  the  mind  in  ait,  the 
exercise  of  the  artist’s  own  judgment,  of  his  own  taste  and  good  sense,  in  selection, 
omission,  emphasis,  all  in  his  original  way,  without  reference  to  any  conventional 
rules  whatever.  The  one  thing  which  seems  to  me  essentially  unartistic  is  the 
abdication  of  imperial  faculties  in  order  to  bind  down  eye  and  hand  to  the  servile 
copyism  of  matter. 


XUS KhV. 


281 


the  true  artist  invents  or  remembers  another  sky  which  does 
suit  it,  or  he  alters  the  landscape  itself  to  enable  it  to  support 
the  sky,  getting  harmony,  at  any  rate,  by  an  exercise  of  his 
masterful  will.  This  exercise  of  judgment  and  will  is  an 
essential  part  of  the  work  and  duty  of  the  artist,  and  he  cannot 
decline  it,  or  excuse  himself  on  the  plea  of  fidelity  to  the  facts. 

I have  said  this  so  plainly,  that  it  looks  like  a condemna- 
tion of  Mr.  Ruskin’s  practical  work  in  art,  but  it  is  not  intended 
to  be  that,  it  is  intended  only  to  mark  a limit.  Mr.  Ruskin’s 
speciality  in  art  has  been  to  make  studies , and  he  makes  them 
admirably  well.  Practical  art,  in  his  case,  has  been  much 
more  a means  of  acquiring  knowledge  than  of  displaying  his 
personal  force,  which  has  been  exercised  (very  powerfully) 
through  his  writings.  Now  when  drawing  is  employed  either 
simply  to  acquire  knowledge  or  simply  to  communicate  it,  the 
work  does  not  challenge  the  highest  aesthetic  criticism. 

Mr.  Ruskin’s  etchings  are  of  two  distinct  kinds,  in  soft- 
ground  and  in  the  ordinary  ground.  In  soft-ground  etching 
the  plate  is  covered  as  usual,  but  the  ground  is  mixed  with 
tallow  to  prevent  it  from  hardening,  and  a piece  of  paper  is 
laid  over  it,  on  which  the  artist  makes  his  drawing  with  a lead 
pencil.  When  the  paper  is  removed  it  brings  off  with  it  ground 
enough  from  the  surface  of  the  copper  to  expose  the  latter 
exactly  to  such  a degree  that  the  acid,  in  biting,  will  give  a 
granular  appearance,  like  pencil  marks  on  paper  that  is  slightly 
rough.  This  is  transferred  to  the  paper  on  which  the  etching 
is  printed,  so  that  the  proof  has  much  of  the  quality  of  a 
pencil  drawing,  or  of  a lithograph,  but  it  may  be  helped  by 
subsequent  work  with  the  point  after  the  plate  has  been 
covered  with  the  ordinary  ground.  Reserves  of  pure  white 
amidst  dark  shading  may  be  made  anywhere,  even  in  minute 
quantities,  by  touches  of  varnish  with  the  brush  before  the 
plate  is  bitten. 

Mr.  Ruskin  used  this  process  to  illustrate  the  Seven  Lamps 
of  Architecture,  but  apologised  to  the  reader  “ for  the  hasty  and 


282 


RUSKIN. 


imperfect  execution  of  the  plates.”  “ Desiring  merely  to  make 
them  illustrative  of  my  meaning,  I have  sometimes  very  com- 
pletely failed  even  of  that  humble  aim  ; and  the  text,  being 
generally  written  before  the  illustration  was  completed,  some- 
times naively  describes  as  sublime  or  beautiful  features  which 
the  plate  represents  by  a blot.”  The  sincerity  of  this  self- 
criticism  was  proved  later  by  the  withdrawal  of  these  etchings 
from  the  work,  and  the  substitution  for  them  of  engravings 
from  drawings  by  the  author. 

The  plain  truth  appears  to  be  that  the  soft-ground  process 
involves  just  the  same  difficulty  of  biting  as  the  point  process, 
whilst  there  is  an  additional  uncertainty  about  laying  the 
copper  bare  to  the  exact  degree  which  the  artist  desires,  hence 
the  liability  to  “ blot,”  and  rebiting  is  more  difficult  than  in 
line  etching,  if  indeed  it  is  not  altogether  impossible.  Nor  is 
there  anything  in  the  result  which  is  positively  superior  to 
lithography,  except  a mere  matter  of  convenience  in  getting 
rid  of  the  weight  and  fragility  of  lithographic  stones,  a con- 
venience which  is  counterbalanced  by  the  greater  cheapness 
of  lithographic  printing.  For  these  reasons  I intend  to  say 
no  more  about  soft-ground  etching  in  this  volume,  except  that 
if  the  reader  wishes  to  study  it  more  thoroughly,  he  will  find 
examples  of  it  in  Cotman’s  works* 

Mr.  Ruskin’s  work  with  the  point  in  the  ordinary  ground 
is  either  from  studies  of  his  own  or  after  Turner.  It  is  always 
delicate  in  drawing,  but  intentionally  very  simple  in  the  biting, 
and,  therefore,  in  comparison  with  the  powerful  and  complex 
work  of  the  best  professional  etchers,  it  is  elementary.  The 

* Soft-ground  etching  is  one  of  those  processes  which  appear  extremely  easy 
when  you  read  a description  of  them,  but  which  are  treacherous  and  difficult  in 
reality.  You  have  nothing  to  do  but  draw  with  a pencil,  remove  your  paper,  and 
bite.  This  is  the  technical  theory,  but  in  practice  we  find  that  details  are  often 
muddled  together,  that  intended  gradations  are  often  either  spoiled  or  wholly 
absent,  and  that  weights  of  tone  often  come  in  wrong  relations  in  the  biting.  The 
process  gives  wonderful  texture,  however,  sometimes,  and  for  certain  things,  and 
a quality  in  some  shades  not  unlike  the  good  quality  of  the  new  photogravure. 


JR  US  KIN. 


283 


reader  may  study  it  with  advantage  for  the  extreme  truth  of  its 
forms  and  the  accurate  observation,  whether  of  nature  or  of 
art,  which  is  proved  by  the  choice  of  line  and  of  shade.  If 
Mr.  Ruskin  has  not  gone  farther  in  the  direction  of  complete 
chiaroscuro,  we  know  that  it  is  because  he  cares  too  much  for 
truth  of  light  and  shade  to  trust  anything  elaborate  to  so 
hazardous  a means  of  engraving  as  the  acid  bath.  When  he 
wants  a chiaroscuro  study  to  be  reproduced  in  its  full  strength, 
he  does  not  etch  it,  but  has  it  engraved  by  Mr.  Armytage  or 
Mr.  Lupton.  The  wisdom  of  this  is  beyond  dispute,  yet  it*is 
not  always  necessary  that  art  should  be  faultless  in  execution 
in  order  to  produce  its  impression  upon  the  mind.  The 
imperfect  etchings  in  the  Seven  Lamps  are  of  themselves  a suffi- 
cient proof  of  this.  Their  imperfection  is  seen  at  once,  and  as 
quickly  forgiven — forgiven  for  the  sake  of  the  life  and  feeling 
which  make  them  precious  in  spite  of  it.  What  does  it  matter 
that  some  details  should  be  blotted  here  and  there,  some 
shades  bitten  too  much  or  too  little,  when  the  result  is  that 
ideas  of  nobleness  or  power  are,  if  not  quite  accurately 
expressed,  at  least  very  vividly  suggested  ? 

Capital  from  the  lower  arcade  of  the  Doge's  Palace , Venice. — ■ 
When  the  Seven  Lamps  of  Architecture  was  published  many 
years  ago,  I knew  little  about  any  fine  art,  and  less  perhaps 
of  etching  than  of  others  which  came  habitually  in  my  way  ; 
but  this  capital  from  the  Doge’s  palace,  from  its  magnificent 
depth  of  shadow  and  the  imaginative  grandeur  of  its  foliage 
and  birds,  always  had  a singular  attraction  for  me,  and 
increased  my  enjoyment  of  Gothic  capitals  generally.  It  is 
rather  a note  of  shadows  than  a study  of  forms,  but  the  forms 
themselves  owe  half  their  grandeur  to  the  shadows  they  cast. 
The  loss  of  detail  in  the  shadows  is  not  entirely  defensible, 
because  there  are  generally  reflections  strong  enough  to  show 
more  detail  than  is  visible  here  ; but  the  hints  and  suggestions 
in  this  etching  have  a stronger  effect  upon  the  imagination 


284 


RUSK  IN. 


than  work  more  completely  made  out,  and  it  is  to  be  ac- 
counted a merit  that  whatever  else  is  lost  the  artistic  aspect 
is  always  preserved,  or  at  least  its  preservation  has  been  the 
etcher’s  principal  aim.  The  first  springing  of  the  massive 
mouldings  above  the  capital  suggests  the  weight  of  the  entire 
arch  ; and  though  the  system  of  light  and  shade  resembles  too 
closely  that  of  photography,  there  is  a life  in  the  marking  of 
the  wild  foliage  and  quaint  long-beaked  storks  which  photo- 
graphy would  not  have  given,  for  it  is  not  wholly  attributable 
to  him  who  carved  the  stone : the  stone-cutter  left,  no  doubt, 
the  lines  of  that  cornice  more  simply  mechanical  than  we  see 
them  here,  and  for  the  picturesque  charm  of  its  now  broken 
and  various  surface  we  have  to  thank  the  artistic  feeling  of 
the  etcher.  A classical  designer  neither  could  nor  would 
draw  architecture  in  this  way,  because  if  a line  had  been 
straight  at  first  he  would  restore  its  straightness  and  draw  it 
rigidly  with  a ruler,  ignoring  accident  and  decay.  Mr. 
Ruskin’s  opposition  to  the  classical  spirit  has  been  rather 
artistic  than  philosophical ; but  a man  who  aspires  to  be  an 
etcher  can  scarcely  hate  classicism  too  ardently,  and  a single 
piece  of  cornice  drawn  mechanically,  like  the  Roman  Gate  of 
Autun  in  the  “ Saint  Symphorien”  of  Ingres,  would  go  farther 
to  ruin  an  etching  than  any  of  the  technical  imperfections  in 
this. 

Part  of  the  Cathedral  of  Saint  Lo}  Normandy . — An  arch 
with  small  statues  under  canopies,  above  it  a light  gable  filled 
with  tracery  and  decorated  with  crockets,  terminating  in  a 
finial.  Behind  this  gable  is  a light  gallery  of  tracery,  at  the 
angles  of  which  are  pinnacles.  There  are  several  defective 
and  weak  parts  in  this  etching,  but  it  is  delightful  for  a 
pathetic  fidelity.  Observe  how  every  fragment  of  the  beauti- 
ful broken  foliage  between  the  crockets  is  noticed  and  recorded, 
and  how  entirely  free  is  the  etcher  from  any  temptation  to 
restore  the  fragments  which  are  lost.  When  a stone  is  so  far 
decayed  that  the  sharp  lines  of  its  sculpture  are  all  gone,  the 


JR  U SKIN. 


285 


mysterious  hints  of  form  which  still  remain  in  it  are  studied 
with  unabated  interest.  The  difference  between  this  loving 
and  reverential  spirit  and  the  feeling  which  prompts  French 
municipalities  to  pull  down  such  work  as  this  because  it  is 
out  of  repair,  marks  the  antagonism  between  artistic  and 
bourgeoises  ideas.  On  one  side  we  have  the  love  for  nobleness 
and  a pathetic  interest  in  the  broken  remnants  of  a glorious 
art ; on  the  other  a total  indifference  to  artistic  grandeur  and  a 
mean  intolerance  of  the  marks  of  time.  One  of  the  character- 
istics of  modern  Philistinism,  both  in  England  and  France,  is 
its  love  of  neatness  and  newness,  and  its  incapacity  to  see  what 
is  venerable  in  buildings  or  in  men. 

Window  from  the  CcC  Foscari , Venice. — When  artists  draw 
architecture  well,  they  have  always  a strong  constructive 
instinct,  a sense  of  the  weight  and  strength  of  the  materials, 
and  a knowledge  of  the  uses  to  which  they  are  put  The 
great  massiveness  and  solidity  of  the  simple  Venetian  tracery 
was  never  rendered  in  a way  at  once  so  powerful  in  effect  and 
so  explanatory  of  construction.  We  see  how  the  heavy  stones 
were  hewn  and  placed,  and  we  know  why  the  dark  glass  was 
set  so  far  behind  the  sharp,  plain  cusps.  The  first  merit  of  an 
aquafortist  is  the  power  of  explaining  structure. 

Arch  from  the  facade  of  the  Church  of  San  Michele  at 
Lucca. — Not  entirely  successful  in  the  biting,  one  or  two  cast 
shadows  being  exactly  of  the  same  weight  with  the  shaded 
side  of  the  projections  which  cast  them  ; and  yet,  in  spite  of 
this,  and  the  excessive  sacrifice  of  detail  in  shade,  an  etching 
of  more  than  usual  interest,  not  only  for  the  quaint  richness 
of  its  material,  but  for  the  bold  preservation  of  local  colour  in 
full  light.  The  richness  of  the  soft-ground  process  and  its 
suitableness  for  architectural  illustration  have  seldom  been 
more  completely  exhibited,  but  after  the  removal  of  the  var- 
nish the  plate  has  been  reinforced  with  the  point,  whose  assist- 
ance is  seldom  altogether  unneeded.  There  are  grammatical 
faults  in  the  tonality,  as,  for  instance,  in  the  shadow  on  the 


286 


RUSK  IN. 


white  and  dark  marble  of  the  arch,  which  is  of  precisely  the 
same  force  on  both  ; but  there  are  valuable  gradations  in  the 
sculptured  mouldings,  and  much  interesting  variety  of  line. 
The  light  on  the  wall  behind  the  arcade,  between  the  columns 
under  the  shadow  of  the  arch,  is  the  best  bit  of  illumination 
in  the  whole  plate. 

Pass  of  Faido.  Simple  topography. — An  etching  in  few 
lines;  without  any  indication  of  light-and-shade,  having  for  its 
unique  purpose  the  clear  expression  of  the  truth  about  moun- 
tain form.  The  principal  exercise  of  the  mind  in  such  work 
as  this  lies  in  the  selection  of  those  lines  which  are  most  ex- 
pressive of  structure.  This  is  a kind  of  drawing  which  would 
be  very  useful  to  men  of  science  if  they  could  do  anything  so 
truthful,  which  by  some  strange  fatality  they  never  can.  As 
I look  at  it,  I think  what  a pity  it  is  that  De  Saussure,  for 
example,  had  not  been  trained  to  work  of  this  kind,  instead  of 
being  dependent  upon  the  feeble  draughtsmanship  of  his 
assistants  and  the  miserable  engravers  who  reproduced  their 
drawings.  The  means  used  here  are  as  simple  as  they  pos- 
sibly can  be.  The  main  lines  are  given,  and  a few  markings, 
that  is  all.  There  is  no  modelling  and  no  illumination.  Local 
colour  also  is  omitted.  Yet  with  all  these  omissions  such  is 
the  explanatory  power  of  the  line  that  the  mountain  forms  are 
made  plain  to  us. 

For  a scientific  purpose,  this  kind  of  etching  may  be  most 
useful,  but  it  cannot  be  practised  by  an  artist  without  danger. 
It  is  perilous  for  him,  because  in  doing  it  he  would  no  longer  see 
all  the  elements  of  landscape  effect  simultaneously,  and  give 
a resuml  of  the  whole,  but  would  look  only  for  the  outline 
and  certain  markings  which  exhibit  construction,  so  becoming 
blind  to  many  other  things  which  it  concerns  him  equally 
to  observe.  In  a word,  this  etching  is  an  example  of  abstrac- 
tion, and  abstraction  of  a kind  which  is  rather  scientific  than 
artistic. 

There  is  a strong  temptation  to  draw  mountains  on  these 


RUSK  IN. 


28  7 


principles  from  nature,  because  it  is  the  only  kind  of  deliberate 
drawing  which  can  be  done  from  nature  amongst  mountain- 
scenery  at  all.  If  you  study  such  scenery  in  light  and  shade 
or  in  colour,  your  memoranda  must  be  so  rapid  as  to  miss  the 
delicacy  of  the  forms. 

Crests  of  La  Cote  and  Taconay. — A study  of  the  same 
kind  as  the  preceding,  but  much  more  beautiful,  on  account 
of  the  indescribable  grace  of  the  natural  lines,  which  the  artist 
may  have  slightly  exaggerated  in  his  love  for  them.  As  an 
etched  study  this  is  the  most  perfect  thing  of  its  kind  I ever 
met  with.  I doubt  whether  there  is  an  artist  living  in  England 
who  can  draw  mountains  with  Mr.  Ruskin’s  knowledge  of 
structure  and  his  lively  sense  of  beauty,  and  I feel  confident 
that  there  is  nobody  out  of  England  who  can.  We  know, 
however,  what  a price  has  been  paid  for  this  knowledge,  how 
many  seasons  of  patient  labour  amongst  the  Alps,  what  long 
self-discipline  in  observation,  and  in  the  art  of  recording 
observation.''5.  Few  can  appreciate  the  veracity  of  such 
drawing ; no  one  can  value  it  as  it  deserves  to  be  valued  who 
has  not  given  many  a day  to  labours  of  the  same  order  in 
some  noble  mountain-land. 

* I should  have  been  glad  to  speak  of  some  plates  done  after  Turner,  but  can- 
not do  so  in  this  place  on  account  of  my  rule  (a  very  necessary  one)  to  confine 
myself  to  original  work.  The  only  exception  to  this  rule  will  be  a chapter  on 
etching  from  pictures. 


CHAPTER  V. 


WHISTLER. 

JAMES  WHISTLER  is  of  American  extraction,  and 
studied  painting  in  France  in  the  studio  of  Gleyre. 
As  a student  he  was  capricious  and  irregular,  and  did  not 
leave  the  impression  amongst  his  fellow-pupils  that  his 
future  would  be  in  any  way  distinguished.  He  never 
entirely  submitted  to  the  French  academical  discipline,  and 
his  artistic  education,  like  that  of  many  English  artists, 
seems  to  have  been  mainly  acquired  by  private  and  inde- 
pendent study. 

As  an  artist  who  by  this  time  has  fully  expressed  at 
least  his  tendencies,  Whistler  may  be  fairly  estimated  now. 
He  has  very  rare  and  very  peculiar  endowments,  and  may 
in  a certain  sense  be  called  great, — that  is,  so  far  as  great- 
ness may  be  understood  of  faculties  which  are  rather 
remarkable  for  keenness  and  originality  than  range.  The 
faculties  which  he  has  are  pre-eminently  of  the  artistic 
order  ; he  is  essentially  a painter  and  etcher,  not  a dramatist 
or  poet ; he  is  never  literary,  but  always  pictorial.  And  in 
his  pictures  and  etchings  it  is  the  most  artistic  points  that 
interest  him  most — not  so  much  the  natural  material  as 
what  may  be  done  with  it  His  oil-pictures  are  experiments 
in  colour-harmonies,  and  his  etchings  are  notes  of  strange 
concurrences  of  line.  Whether  he  really  loves  anything  I 
have  never  been  able  to  determine,  but  he  has  a predilection 
for  the  wharves  of  the  Thames,  which,  in  a warmer  tempera- 
ment, would  have  grown  into  a strong  affection.  Whistler 


WHISTLER. 


289 


seems  from  his  works — I do  not  know  him  personally — to 
be  not  altogether  expansive  or  sympathetic,  but  self-con- 
centrated and  repellent  of  the  softer  emotions.  His  work  is 
often  admirable,  but  it  is  rarely  affecting,  because  we  can  so 
seldom  believe  that  the  artist  has  himself  been  affected.  It 
is  very  observant,  very  penetrating,  very  sensitive  even,  in  a 
peculiar  way,  but  not  poetically  sensitive.  Though  edu- 
cated as  a figure-painter,  Whistler  has  given  no  proof  of  his 
interest,  either  in  the  events  of  history  or  of  the  common  life 
around  him  ; and  a figure,  for  him,  is  useful  chiefly  because 
it  can  wear  clothes  of  any  colour  he  pleases.  The  only 
people  for  whom  he  seems  to  have  a sort  of  liking  are  the 
Thanfes  bargemen,  and  he  has  sketched  them  not  unfaithfully, 
with  appropriate  costume  and  short  pipes.  It  would  be 
unfair,  perhaps,  to  say  that  Whistler  has  no  sense  of  beauty, 
for  he  has  evidently  an  instinct  for  beautiful  arrangements 
of  colour,  but  it  is  not  unfair  to  say  that  beauty  of  form  is 
not  his  object.  Indifference  to  beauty  is,  however,  com- 
patible with  splendid  success  in  etching,  as  the  career  of 
Rembrandt  proved.  What  an  etcher  needs  is  not  so  much 
a sense  of  beauty  as  of  expression  and  variety ; and  if  a 
choice  had  to  be  made  between  the  man  who  enjoyed  beauty, 
but  enjoyed  nothing  else,  and  the  man  who,  without  any 
especial  appreciation  of  the  beautiful,  read  in  everything  the 
marks  which  tell  the  story  of  its  existence,  we  may  rely  upon 
it  that  the  better  etcher  of  the  two  would  not  be  the  slave  of 
beauty. 

Whistler  is  a master  of  line,  but  not  of  chiaroscuro.  There 
is  seldom  in  his  etchings  any  large  arrangement  of  light  and 
shade,  and  the  resources  of  art  in  tonic  values  are  often  pre- 
maturely exhausted,  so  that  to  complete  the  picture  we  should 
need  some  pigment  a great  deal  blacker  than  printers  ink. 
The  lighting  of  his  subjects  is  usually  very  much  scattered, 
but  this  is  in  harmony  with  their  medley  of  material,  and 
there  is  no  reason  why  an  effect  of  breaking  and  scattering 

U 


290 


WHISTLER. 


may  not  occasionally  be  selected  as  a motive.  Art  is  so 
large,  that  it  may  express  not  only  unity  and  repose,  but 
restlessness  and  confusion.  In  many  of  Whistler’s  etchings 
the  eye  has  no  peace,  and  cannot  find  a space  of  tranquil 
light  or  quiet  shade ; but  after  long  familiarity  with  the  art 
that  illustrates  unity  and  repose,  we  find  refreshment  in  this 
very  carelessness  of  unity,  and  even,  if  such  a paradox  may 
be  pardoned,  a unity  in  their  scattering  and  an  aim  in  their 
aimlessness. 

Mr.  Whistler  has  published  a set  of  his  plates  since  the 
first  edition  of  this  work  appeared.-5'  Let  me  especially  re- 
commend the  Hungerford  Bridge  (for  exquisite  delicacy  of 

* It  is  unfortunate,  I think,  that  etchings  like  those  of  Mr.  Whistler  and  Mr. 
Haden  should  be  published  at  such  a very  high  price  and  in  such  a small  edition. 
Money  was  certainly  not  the  object  in  either  of  these  cases ; the  real  object  in 
charging  twelve  or  sixteen  guineas  for  a few  etchings  is  to  convey  the  impression  to 
the  public  mind  that  they  are  very  precious  things,  and  it  is  certain  that  if  the 
etchings  were  published  at  a moderate  price  there  is  a class  of  collectors  who 
would  cease  to  value  them  ; such  is  human  nature.  But,  on  the  other  hand,  it  is  a 
misfortune  for  the  celebrity  of  the  etcher  that  so  few  copies  of  his  works  should  be 
in  the  possession  of  those  who  really  care  about  the  art  for  itself,  and  who  do  not 
estimate  the  quality  of  a drawing  by  the  sum  of  money  which  was  paid  for  it.  A 
hundred  copies  of  a publication  can  do  but  little  for  the  fame  of  its  author,  a 
thousand  might  do  something.  In  literature  we  find  that  it  is  possible  to  sell  books 
by  thousands  without  acquiring  thereby  any  inconvenient  degree  of  celebrity,  and 
we  also  find  that  cheap  editions  do  not  degrade  books,  but  the  contrary.  A 
reasonable  way  of  publishing  etchings  is  that  adopted  by  Mr.  Sijthoff  of  Leyden 
for  Unger’s  works,  the  price  being  £1  : 7s.  for  the  set  of  ten,  mounted  on  boards. 
A still  cheaper  and  quite  practicable  system  is  that  of  M.  Cadart,  who  issues  an 
annual  portfolio  at  £ 2 , containing  forty  etchings  well  printed  on  good  Dutch 
paper,  but  not  mounted.  Etchings  cannot  be  decently  issued  independently  for 
less  than  this,  but  it  is  relatively  a popular  form  answering  to  cheap  editions  in 
literature.  The  Portfolio  gives  an  etching  every  month  for  half-a-crown,  besides 
two  other  full-page  illustrations  and  a quantity  of  text.  I have  an  especial  dislike 
to  the  system  of  publishing  very  limited  editions,  and  then  destroying  the  plates  to 
create  a small  demand  for  the  proofs  as  rarities.  The  greatest  care  should  be  taken 
not  to  publish  a single  proof  after  the  plate  shows  signs  of  wear,  but  until  then 
why  not  let  everybody  buy  a copy  who  wants  one  ? I am  particularly  vexed  with 
M.  de  Gravesande  for  having  destroyed  some  plates  of  his  mentioned  in  this 
volume  when  only  a hundred  copies  had  been  printed.  One  feels  that  it  is  almost 
useless  to  write  about  things  which  can  be  in  the  hands  of  so  very  few  people. 


WHISTLER. 


29: 

curve)  ; the  little  girl  leaning  against  a door-post  in  France, 
a woman  inside  the  house  cooking ; a boy  seated,  and  hold- 
ing his  foot  (dry-point),  hat  on  the  floor,  dress  of  black 
velvet ; and  the  three  subjects  which  follow. 

Wapping-  Wharf. — The  reader  may  know  this  etching  by 
the  following  indications.  There  is  a house  with  bow-windows 
to  the  right,  and  three  common  windows  above.  Over  these 
is  a sign  with  the  words,  “ Thames  Police ; ” a second  house 
bears  the  inscription,  “ Wapping-Wharf.”  The  shores  of  the 
Thames  in  London  used  to  be  picturesque,  and  the  new 
embankment  will  remove  much  material  that  is  interesting  to 
artists ; but  the  picturesque  of  the  London  river  is  after  all 
nothing  but  a more  entertaining  variety  of  the  universal 
London  ugliness.  The  Thames  is  beautiful  from  Maidenhead 
to  Kew,  but  not  from  Battersea  to  Sheerness.  If  beauty 
were  the  only  province  of  art,  neither  painters  nor  etchers 
would  find  anything  to  occupy  them  in  the  foul  stream  that 
washes  the  London  wharfs ; but  even  ugliness  itself  may  be 
valuable  if  only  it  has  sufficient  human  interest  and  fortuitous 
variety  of  lines.  The  long  brick  streets,  whose  regularity 
charms  the  least  artistic  section  of  the  public,  are  as  ugly  as 
Wapping  Wharf,  but  they  are  not  so  available  for  etching, 
because  they  have  nothing  accidental  and  unforeseen.  A 
subject  like  this  is  not  only  picturesque,  but  very  quaint  and 
curious,  full  of  all  sorts  of  odd  bits  of  detail  that  come  together 
in  a strange  way  that  amuses  and  occupies  the  spectator. 
It  takes  some  time  to  analyse  any  of  Whistlers  more  com- 
plicated river  subjects,  and  we  have  a pleasure  in  the  occupa- 
tion, which  is  much  enhanced  by  the  singular  skill  of  the 
designer.  In  this  particular  etching  attention  may  be 
directed  to  the  delicacy  of  work  on  the  principal  roof,  and  to 
the  rapid  but  subtle  sketching  of  the  barges  and  wherry  in 
the  foreground. 

Black  Lion  Wharf. — I take  this  as  a representative 


292 


WHISTLER. 


example  of  Whistler’s  peculiar  qualities  and  faults ; the 
faults  being,  as  so  often  happens  in  art,  inseparable  from  the 
qualities,  and  not  so  much  to  be  condemned  as  simply  stated, 
to  prevent  them  from  having  an  influence  which  might  become 
widely  and  permanently  injurious.  It  is  one  of  the  Thames 
wharfs  seen  across  the  water ; in  the  foreground  we  have  a 
man  sitting  in  a barge,  his  arm  resting  on  the  gunwale. 
Near  the  shore  is  a schooner,  a barge  full  of  barrels,  one  or 
two  other  boats,  a landing-stage,  a crane,  several  houses,  and 
two  large  warehouses,  one  with  a long  chimney.  The  roofs, 
as  usual,  are  studied^  with  the  utmost  minuteness,  and  no 
detail  of  window  or  balcony  is  missed.  The  schooner  is  very 
finely  indicated,  but  the  foreground  is  slight  in  the  extreme, 
and  is  altogether  out  of  relation  to  the  rest  of  the  subject. 
The  artist  has  exhausted  all  his  darks  in  the  details  of  the 
shore : the  blacks  in  a single  bow-window  beyond  the 
schooner  have  got  down  already  to  the  very  bottom  of  the 
scale ; and  as  nothing  in  an  etching  can  be  made  blacker 
than  pure  printer’s  ink,  the  artist  has  no  resource  left  for  his 
foreground,  and  so  sketches  it  without  attempting  any 
statement  of  its  relation  to  that  bow-window.  But  if  we 
concentrate  our  attention,  as  Whistler  did,  upon  the  buildings, 
our  study  will  be  amply  rewarded.  Though  the  work  is 
very  careful,  it  is  by  no  means  slavish,  and  differs  from  the 
careful  work  of  bad  etchers  more  by  keenness  of  observation 
and  vivacity  of  handling,  than  by  any  disdain  for  small  facts. 
If  there  is  composition,  it  is  so  consummate  as  to  be  undis- 
coverable ; but  the  very  absence  of  it  increases  the  appear- 
ance of  jumble  which  is  so  characteristic  of  the  London 
wharfs.  Houses  built  without  a plan,  and  figures  who  do 
not  trouble  themselves  about  the  rules  of  art,  are  the 
materials  that  Whistler  has  sought : disorder  and  confusion 
are  the  law  of  their  visible  existence,  and  not  confusion  of 
the  sort  which  in  art  is  the  most  orderly  arrangement  ; and 
as  the  absence  of  composition  only  helps  the  expression  of 


WHISTLER. 


293 


character,  so  the  sins  against  tonality  give  a striking  look  of 
truth.  The  whole  attention  of  the  spectator  is  concentrated 
on  the  wharf ; and  if  the  houses  there  are  considered  without 
reference  to  any  nearer  object,  their  tonality  approaches 
more  closely  to  the  strong  oppositions  of  nature  than  any 
delicate  Turnerian  interpretation. 

Boats  at  a mooring — Evening. — Seven  boats  with  masts 
are  fastened  by  ropes  to  a ring  in  a post  on  the  right.  There 
is  a large  barge  to  the  left,  with  five  men  on  it.  Behind 
the  boats  is  a bridge  and  a church  tower ; on  the  shore,  to 
the  left  above  the  barge,  there  is  a brick  building  with  stone 
facings,  and  a clock  in  a tower.  The  shore  is  crowded  with 
people,  and  there  are  figures  ascending  stairs. 

Whistler’s  etchings  are  not  generally  remarkable  for 
poetical  feeling,  but  there  is  a harmony  in  the  thin  lines  of 
these  masts  and  in  the  festoons  of  the  converging  cables 
that  hold  the  boats,  which  approaches  poetical  synthesis. 
The  variety  of  inclination  in  the  masts  is  very  subtle  and 
beautiful  ; a fan-like  arrangement,  artfully  broken  in  the 
middle  by  one  contradictory  vessel.  There  is  some  mys- 
terious work  in  the  bridge,  and  strong  realism  in  the  near 
brick  building  to  the  left.  The  fine  strokes  for  cordage  are 
drawn  with  great  certainty  against  the  tender  evening  sky. 


CHAPTER  VI. 


HADEN. 

pRANCIS  SEYMOUR  HADEN  is  a London  surgeon 
in  large  practice,  devoted  to  his  profession,  which  he 
pursues  actively. 

Francis  Seymour  'Haden  is  an  artist  of  rare  endowment 
and  consummate  practical  skill. 

These  two  statements  may  seem  incompatible,  but  they 
are  both  true.  When  a surgeon  or  other  professional  gentle- 
man outside  of  art  reads  this,  he  will  wonder  how  it  can  be 
possible  that  a practical  surgeon  can  be  also  a practical 
artist ; he  may  even  go  a step  farther,  and  decide  in  his  own 
mind  that  it  is  not  possible.  However,  whether  possible  or 
not,  it  is  a fact.  So,  when  an  artist  who  has  not  seen 
Haden’s  etchings,  hears  that  he  is  a doctor  and  an  amateur, 
he  may  feel  certain  that  the  etchings  cannot  be  worth  much  ; 
but  then  the  undeniable  fact  is  that  they  are  worth  much,  that 
they  are  worth  more  than  professional  work  generally,  and 
that  it  is  difficult  to  find  wrork  of  the  same  technical  quality 
amongst  the  productions  of  contemporary  artists,  either  in 
England  or  out  of  England. 

This  success  of  Mr.  Haden  as  an  artist — a success  which 
is  not  due  to  any  temporary  fashion,  but  will  be  as  permanent 
as  any  other  modern  reputation  of  equal  present  importance 
— is  the  most  interesting  fact  which  can  be  adduced  in 
reference  to  the  great  question  of  amateurship,  and  it  is 
worth  while  to  consider  how  far  Mr.  Haden’s  position 
resembles  that  of  other  amateurs  generally,  and  what  hope 
of  a like  success  they  may  reasonably  entertain. 


HADEN. 


295 


It  is  true  that  etching  has  been  Mr.  Haden’s  recreation, 
and  not  the  business  of  his  life  ; but  drawing,  which  is  the 
foundation  of  etching,  was  employed  by  him  as  an  auxiliary 
in  the  study  of  anatomy,  and  men  of  great  energy  often 
carry  a spirit  of  resolution  into  their  amusements,  and  a 
determination  to  do  what  they  undertake  as  well  as  they 
possibly  can,  even  when  they  have  no  intention  of  earning 
money  by  it.  The  kind  of  recreation  which  Mr.  Haden  has 
sought  in  art  was  not  pastime,  but  diversion — not  a way  of 
passing  time  agreeably,  so  much  as  something  to  divert 
great  energies  from  their  usual  channel.  He  would  never 
have  been  an  etcher  at  all,  if  he  had  always  regularly 
enjoyed  the  perfect  health  necessary  to  uninterrupted  profes- 
sional work  ; but  though  his  constitution  is  robust,  there  was 
a time,  some  years  ago,  when  its  powers  were  so  much  over- 
taxed that  a very  long  rest  was  considered  necessary,  and 
during  this  time  of  rest  Mr.  Haden  produced  the  etchings 
that  we  know.  Since  then  his  health  has  been  re-established, 
the  practice  of  medicine  resumed,  and  etching  all  but 
abandoned.  The  production  of  an  etching  is  too  serious  and 
difficult  a matter  to  be  undertaken  when  the  mind  is  pre- 
occupied by  other  interests ; and  though  it  may  require  few 
hours  to  etch  a plate,  these  hours  must  be  preceded  by 
other  hours  of  uninterrupted  tranquillity,  and  there  must  be 
no  anxiety  about  work  to  be  done,  or  appointments  to  be 
kept,  just  when  the  plate  is  finished.  An  active  surgeon  or 
lawyer,  however  true  might  be  his  natural  gift  as  an  artist, 
however  consummate  his  acquired  facility,  could  not,  in 
short  intervals  stolen  from  his  profession,  get  himself  suffi- 
ciently into  the  artistic  frame  of  mind  for  the  production  of 
good  work.  The  reader  would  therefore  greatly  mistake 
the  conditions  under  which  Mr.  Haden’s  etchings  were 
achieved,  if  he  supposed  that  the  artist  executed  his  plates 
during  the  intervals  of  consultations.  Though  a surgeon  by 
profession,  he  had  been  compelled  against  his  will  to  abandon 


296 


HADEN. 


medicine  temporarily,  and  sought  occupation  in  etching; 
living,  for  the  time,  the  life  of  an  artist,  and  purposely 
detaching  his  mind  as  much  as  possible  from  professional 
cares  and  thoughts.  That  Mr.  Haden  has  by  nature  a very 
powerful  and  original  artistic  faculty  I have  no  doubt,  but  it 
is  not  so  certain  that  he  is  naturally  more  artist  than  surgeon, 
or  that  we  ought  to  regret  the  devotion  of  his  life  to  a career 
outside  of  art.  There  are  instances  of  men  who  are  in  profes- 
sions which  they  dislike,  and  who  seek  in  music  or  painting, 
often  also  in  the  more  attractive  kinds  of  literary  work,  a relief 
from  the  tedium  of  uncongenial  duties.  But  the  case  of  Mr. 
Haden  is  so  far  from  being  one  of  these,  that  he  is  devotedly 
attached  to  his  profession,  and  quitted  it  for  art  only  that 
he  might  return  to  it  later  with  re-invigorated  energies.  He 
had  long  possessed  a rich  collection  of  etchings,  and  the 
example  of  Whistler  induced  him  to  make  a practical 
attempt.  The  result  was  so  far  satisfactory  as  to  be  an 
encouragement  to  perseverance,  and  Mr.  Haden  found  in 
etching  the  patience  to  endure  a temporary  pause  in  the 
career  of  his  serious  ambition.  Whilst  etching  the  plates 
which  have  won  for  him  artistic  fame,  Mr.  Haden  had  no 
idea  of  showing  his  work  to  the  public ; he  did  it  for  his 
own  health  and  delight,  and  neither  for  our  pleasure  nor  our 
praise. 

This  last  fact  brings  me  to  a consideration  which  is 
favourable  to  the  chances  of  amateurs.  Artists  who  work 
for  money  and  reputation  are  obliged  to  consult  the  market, 
to  think  whether  their  work  is  likely  to  suit  the  taste  which, 
for  the  time  being,  is  prevalent ; and  this  often  leads  them 
to  much  embarrassment  and  hesitation,  and  cramps  their 
true  genius.  They  are  like  speakers  on  a platform  : they 
have  to  adapt  themselves  to  an  audience,  and  their  success 
seems  to  depend  as  much  upon  their  knowledge  of  the 
public  as  upon  their  knowledge  of  art.  In  saying  this,  I am 
not  speaking  vaguely,  but  have  living  instances  before  me  ; 


HADEN. 


297 


instances  of  men  who,  being  compelled  to  go  out  of  their 
true  path  in  order  to  earn  their  bread,  become  anxious 
rather  to  please  the  public  than  to  satisfy  themselves,  and 
waste  time  and  thought  in  the  endeavour  to  adapt  their 
work  to  the  general  demand.  I know  these  things  from  the 
inside,  and  have  seen  the  effects  of  this  anxiety,  the  loss  of 
force  and  directness  to  which  it  leads,  the  loss  of  originality, 
the  extinction  of  enthusiasm,  the  sacrifice  of  truth.  But  the 
artist  who  neither  works  for  income  nor  reputation  need  not 
suffer  from  this  distracting  cause.  He  goes  directly  to  his 
aim,  which  is  the  perfect  expression  of  his  thought.  His  art 
is  not  a speech  from  a platform,  but  a sincere  soliloquy  in 
the  presence  of  nature  and  of  God. 

A case  like  Mr.  Haden’s  is  so  exceptional  that  the  reader 
may  have  a difficulty  in  believing  that  he  worked  without 
intending  to  publish.  The  idea  of  publication  only  suggested 
itself  when  it  had  become  evident  that  amongst  the  plates 
already  executed  there  was  material  for  an  interesting  port- 
folio. An  intelligent  French  critic,  M.  Burty,  saw  their 
value,  and  catalogued  them,  and  the  publication  was  accom- 
panied by  M.  Burty’s  Catalogue.  They  were  published  in 
Paris,  and  shortly  afterwards  in  London,  by  Messrs.  Colnaghi. 
No  issue  of  etchings  ever  had  such  rapid  and  complete 
success.  ' The  reviews  of  them  were  very  numerous  ; all  the 
London  papers  noticed  them,  and  every  review  was  in  a 
strain  of  almost  unmixed  eulogy.  The  subscription  list  was 
rapidly  filled,  though  the  price  went  beyond  even  English 
custom,  and  in  a few  weeks  one  of  the  busiest  surgeons  in 
London  found  himself  one  of  its  most  celebrated  artists. 

A success  of  this  kind  is  not  likely  to  be  repeated,  but  it 
has  done  good  service  to  the  art  by  awakening  an  interest 
in  it ; and  we  who  by  warm  praise  made  Mr.  Haden’s  etch- 
ings famous,  will  never  have  to  repent  our  share  in  the  work. 
Whatever  mistakes  we  have  made,  posterity  will  not  say 
that  this  is  one  of  them. 


298 


HADEN ; 


How  the  skill  came  to  him  is  still,  after  all  explanations, 
a mystery.  No  one  ever  before  was  able  to  do  work  of 
equal  quality  after  so  little  manual  practice.  The  anatomical 
drawing  laid  a foundation,  and  perhaps  the  manual  precision 
necessary  in  dissection,  and  still  more  in  operations  on  the 
living  subject,  may  have  developed  a natural  capacity  to 
apprehend  form  : but  what  is  so  curious  is  that  the  etchings 
show  no  trace  of  a dominant  sense  of  mere  construction ; 
that  the  scientific  element  is  entirely  subordinated  to  the 
artistic  impression,  and  this  to  such  a degree  that  there  is 
no  obtrusive  display  of  structural  knowledge,  even  where  it 
was  fully  possessed,  and  the  figures  hold  their  places  as  true 
landscape-figures,  when  any  other  anatomist  would  have 
become  pedantic  about  muscles  and  bones.  The  structure 
of  trees  is  always  powerfully  rendered,  and,  whether  in 
foliage,  or  branch,  or  stem,  the  draughtsmanship  is  equal  to 
that  of  any  contemporary  landscape-painter ; but  even  here 
there  is  no  pedantry  of  science  or  system,  and  the  trees  are 
drawn  quite  freely  and  innocently,  as  if  the  artist  knew  them 
only  by  the  intense  gaze  of  a simple  lover  of  nature.  This 
entire  subordination  of  science  to  art,  in  a man  scientifically 
educated,  is  a proof  of  immense  natural  spring  and  elasticity 
in  the  artistic  faculty  itself.  A never-ending  subject  of 
wonder  to  me  in  Haden’s  work  is  that  it  is  not  only  art,  but 
pure  art, — art  reigning  unopposed  in  its  own  realm  ; and 
that  the  scientific  training  of  the  workman  has  not  power  to 
embarrass  him,  but  is  easily  laid  aside,  as  the  old  knights 
laid  aside  their  stiff  plate-armour  to  take  their  ease  in  robes 
of  pliant  silk. 

This  etcher  has  had  much  against  him  : the  constant 
application  of  energy  to  other  objects,  the  direction  of  atten- 
tion to  studies  of  a different  order ; but  one  thing  in  his 
hard  professional  life  has  been  favourable, — he  has  learned 
what  it  is  to  observe  and  what  it  is  to  work.  The  miserable 
failure  of  the  mass  of  amateurs  is  due  not  so  much  to  their 


HADEN. 


299 

having  other  work,  as  to  their  having  no  work,  to  their 
lamentable  ignorance  of  the  nature  of  work  generally.  When 
men  have  not  some  great  pursuit,  they  abandon  culture  when 
they  leave  school,  and  (as  a distinguished  living  poet  said  to 
me  in  a letter)  “ content  themselves  with  the  current  enlighten- 
ment of  the  epoch.”  But  Mr.  Haden  has  had  for  his  main 
pursuit  one  of  the  noblest  and  most  stimulating  of  all  studies, 
so  that  he  has  never  lost  the  habit  of  acquisition. 

Of  his  place  and  rank  among  etchers  it  may  be  necessary 
now  to  speak.  He  is  frankly  a pupil  of  Rembrandt,  but  so 
thoroughly  modern  that  tradition  never  stands  between  him 
and  nature.  Haden  has  nothing  whatever  in  common  with 
the  English  school  of  etching,  and  is  only  mentioned  in  this 
place  because  he  happens  to  be  an  Englishman,  not  as  a 
member  of  the  school.  His  manner  is  so  entirely  in  har- 
mony with  the  nature  of  the  art,  that  no  man’s  work,  except 
Rembrandt’s,  is  a safer  example  in  this  respect.  There  is 
never,  in  an  etching  by  Haden,  that  uncomfortable  fatigue 
which  wearies  us  so  frequently  in  modern  work ; he  nevei 
even  wishes  to  transgress  the  limits  of  the  art,  but  works 
happily  within  them,  as  a sea-captain  commands  his  own 
ship.  Consequently,  he  never  imitates  engraving,  or  betrays 
a hankering  after  other  methods,  or  wants  etching  to  do 
more  than  it  naturally  can  do.  As  every  quality  has  its 
corresponding  fault,  it  may  be  added,  however,  that  Mr. 
Haden  is  so  rapid  and  decided  in  manner,  that  he  misses, 
by  his  very  decision,  the  charm  of  a certain  rare  and  precious 
and  exquisite  /^decision  which  one  or  two  first-rate  men 
have  had,  and  which  is  the  last  result  of  art.  His  temper  is 
rather  active  and  rapidly  intuitive,  than  quietly  contempla- 
tive ; and  though  his  etchings  prove  that  he  is  capable  of 
reverie  and  rest,  he  is  so  only  at  rare  moments,  his  general 
habit  being  emphatic  and  decisive.  Of  his  imaginative 
power,  there  is  only  evidence  of  this  kind,  that  he  turns  what 
he  sees  into  something  interesting  and  good  ; but  what  he 


3°  o 


HADEN. 


could  do  without  nature  or  sketches,  I am  unable  to  say. 
It  is  certain  that  he  is  not  a literalist,  not  a prosaic  work- 
man ; and  though  the  imaginative  faculty  in  this  case  may 
not  be  strong  enough  to  be  relied  upon  without  reference  to 
nature,  it  is  certainly  strong  enough  to  transform  and  inter- 
pret nature. 

Of  the  kind  of  material  made  use  of  by  this  artist,  it 
may  be  observed,  first,  that  he  is  a master  of  foliage,  that 
he  has  drawn  some  trees  magnificently,  both  as  to  wood  and 
leaves ; there  is  no  better  stem  or  branch  drawing  than  his 
in  all  contemporary  art.  He  draws  boats  and  buildings 
well,  and  water  in  the  common  varieties  of  calm  and  ripple, 
but  he  does  not  seem  to  have  attempted  the  sea-waves.  He 
draws  land  with  great  truth,  especially  pieces  of  river-bank, 
but  apparently  does  not  possess  any  especial  knowledge  of 
mountain  structure  or  mountain  effects.  So  his  cloud  studies 
are  confined  to  what  may  be  seen  in  the  lowlands.  An 
etcher  having  Haden’s  technical  power,  and  perfect  leisure 
for  some  years,  might  do  great  and  new  things  in  mountainous 
countries,  if  he  had  the  right  passion  for  their  sublimities. 
These  victories  are  reserved  for  the  future ; mountains  have 
been  painted,  but  never  etched.'* 

Out  of  Study  window . — The  sky  here  may  be  a useful 
example  to  etchers,  as  much  for  the  prudence  of  the  artist 
as  his  courage.  He  has  done  those  things  which  he  ought 
to  have  done,  and  he  has  also  left  undone  those  things  which 
he  ought  not  to  have  done.  This  negative  side  of  duty  is, 
for  clever  and  accomplished  artists,  perhaps  the  more  difficult 
of  the  two.  With  the  single  exception  of  Whistler,  there  is 
not  another  etcher  in  England  who  would  not  have  killed 
this  sky  in  trying  to  finish  it.*f*  These  masses  of  heavy 

* Except  scientifically  by  Mr.  Ruskin,  as  we  have  seen,  and  slightly  by  Turner 
as  a preparation  for  mezzotint. 

+ This  was  true  when  written,  but  I think  that  Mr.  Chattock  would  now  etch 
such  a sky  rightly  if  it  came  in  his  way. 


HADEN. 


301 


cumulus  might  have  tempted  an  ordinary  etcher  into  a 
painful  struggle  after  imitative  modelling,  which  would  have 
certainly  ended  in  the  loss  of  motion  and  energy.  It  would 
be  possible,  no  doubt,  to  do  work  even  in  etching  more 
imitative  than  this  bold  interpretation,  but  any  truth  which 
long  labour  might  have  attained  would  have  been  dearly 
purchased  by  the  slighest  diminution  in  the  unity  and 
vivacity  of  impression.  A natural  sky,  even  of  the  most 
slowly-moving  clouds,  is  always  so  transient  that  copyism  is 
out  of  the  question,  and  the  more  rapid  the  memorandum 
the  better  does  it  harmonise  with  the  fleeting  nature  of  the 
thing.  What  an  etcher  most  needs  to  record  is,  first,  the 
composition,  and  then  so  much  of  the  relations  of  tone  as 
may  be  necessary  to  suggest,  but  not  imitate,  the  natural 
light  and  shade.  Whilst  doing  so  much  as  this,  the  artist 
should  miss  no  opportunity  of  noting  and  accentuating  the 
lines  of  energy  and  motion. 

Sunset  on  the  Thames . — The  indications  of  cloud-form 
here  are  much  slighter  than  the  strong  sketching  in  the 
preceding  study,  but  the  effect  of  light  is  given  with  such 
magnificent  force  that  the  whole  sky  flames.  As  a proof 
of  the  artist’s  subtle  observation,  may  be  mentioned  the 
horizontal  elongation  of  the  sun’s  disk  behind  the  cloud 
which,  as  it  were,  seems  to  draw  it  out  into  an  oval,  a 
common  optical  illusion.  The  broad  bright  river  flows 
swiftly  past  the  sun,  bearing  the  laden  barges.  Etching  of 
this  kind  is  purely  interpretative  : etching  may  be  imitative 
sometimes;  it  is  marvellously  imitative  in  the  work  of  Jules 
Jacquemart,  but  Haden  works  always  on  the  far  higher 
principle  of  interpretation,  and  has  never  done  so  more 
conspicuously  than  in  this  instance.  The  wild  scrawling  in 
the  upper  sky,  the  thick  black  strokes  which  to  the  right  do 
duty  as  solar  rays,  the  faint  scratches  of  dry-point  which 
cross  the  field  of  intensest  light,  the  two  broad  bands  to  the 
left  which  radiate  like  the  sails  of  a windmill,  and  are  in 


302 


HADEN. 


fact  shadows  in  the  misty  air — all  these  things,  and  the 
undulating  lines  which  mark  the  flow  of  the  rippling  river, 
are  expressional  expedients,  which  no  simple  imitator  could 
ever  discover  or  apply.  He  might  scrawl  as  wildly  and 
scratch  as  faintly,  but  it  would  not  be  the  right  scrawling 
and  scratching,  and  he  might  leave  great  spaces  of  white 
paper  like  that  in  the  upper  sky,  but  he  could  not  flood  it 
with  this  ethereal  fire. 

Whistlers  House  at  Old  Chelsea.  — It  would  have  been 
interesting  to  future  students  of  etching,  if  Mr.  Haden  had 
informed  us  which  of  these  houses  is  inhabited  by  the  great 
etcher  of  the  Thames.  He  has  been  kind  enough  to  let  us 
know  where  Mr.  Greaves,  the  boat-builder,  carries  on  his 
very  useful  occupation,  but  the  Thames  has  had  many 
boat-builders  and  only  one  Whistler.  There  is  magnifi- 
cent power  of  drawing  in  this  etching,  and  brilliant  arrange- 
ment of  lights  and  darks.  The  foreshortening  of  the 
bows  of  the  barges,  as  seen  from  the  sterns,  is  as  good  a 
piece  of  work  as  one  might  hope  to  find  in  the  Royal 
Academy,  and  there  is  not  a marine  painter  living  who 
would  have  drawn  these  barges  better.  Their  immense 
force  as  darks  gives  great  delicacy  to  the  bridge,  and  the 
light  foliage  beyond  it ; and  their  cumbrous  weight  as  a 
united  mass  adds  greatly  to  the  thread-like  tenuity  of  the 
rigging  in  the  distance.  Of  the  figures  in  the  foreground, 
it  is  fair  to  say  that  they  are  neither  better  nor  worse  than 
Turner’s.  We  have  a woman  in  a state  of  much  distress 
because  three  little  dogs  are  running  after  her,  and  she 
displays  her  legs  in  a manner  so  pathetic  as  to  excite  the 
sympathy  of  everybody  but  those  two  watermen  with  the 
poles,  one  of  whom  seems  rather  amused  at  the  incident. 
Both  woman  and  watermen  are  in  a high  degree  Turnerian; 
that  is,  they  are  true  landscape-painter’s  figures,  not  to  be 
judged  in  themselves,  but  with  reference  to  the  houses  and 
boats  they  accompany.  Rude  as  they  are,  they  give  life 


HADEN. 


303 


to  the  scene,  and  their  execution  is  in  harmony  with  that 
of  the  inanimate  objects  about  them. 

The  Towing-path. — A sketch  in  dry-point,  with  a rather 
high  horizon  and  somewhat  empty  foreground,  on  which 
a lady  is  walking  with  a Skye -terrier.  It  is  a river 

scene,  where  the  stream  is  divided  by  an  island.  This  island 
and  both  shores  are  enriched  with  foliage  which  is  reflected 
in  the  glassy  water.  There  is  some  undulation  towards 
the  foreground,  but  it  is  smooth  and  bright,  and  reflects  the 
sky. 

When  persons,  not  much  accustomed  to  etching,  come 
across  a dry-point,  they  are  always  very  much  taken  by  its 
softness  ; but  if  the  tones  of  dry-point  are  richer,  its  lines 
are  poorer  than  the  etched  line.  In  pure  etching,  Mr.  Haden 
would  have  drawn  better  poplars  than  these,  and  the  other 
trees  would  have  had  more  variety  and  richer  detail.  The 
best  work  here  is  not  in  the  trees,  nor  in  the  sky,  but  the 
water.  The  reflection  of  the  central  mass  on  the  island  is 
as  soft  and  limpid  as  we  may  desire.  When  water  is  not  so 
absolutely  still  as  to  become  a mirror,  but  yet  sufficiently 
smooth  to  reflect  softly,  it  can  be  rendered  as  well  with  the 
dry-point  as  any  other  instrument,  for  the  lines  needed  are 
all  either  straight  lines,  vertical,  or  horizontal,  or  else  the 
gentlest  curves.  The  rich  quality  of  dry-point  work  gives 
the  softness  of  such  reflections  perfectly. 

A Sunset  in  Tipperary. — If  the  reader  cares  to  compare 
the  powers  of  etching  and  dry-point,  he  may  place  this  dry- 
point  side  by  side  with  the  etching  of  part  of  the  same 
subject  which  appeared  in  the  Fine  Arts  Quarterly  Review * 
The  difference  is  altogether  in  favour  of  dry-point  if  richness 
of  tone  is  the  quality  sought,  and  just  as  favourable  to  etching 
if  we  value  variety  of  line.  Much  will  depend  on  the  parti- 
cular impression  to  which  the  reader  may  have  access.  The 
one  before  me  is  so  clogged  with  ink  that  the  signature  is  a 
* See  Fine  Arts  Quarterly  Review , No.  3,  New  Series,  January  1867,  p.  119. 


S°4 


HADEN. 


blot,  and  the  nearer  trees  a mass  of  undistinguishable  dark. 
But  I remember  other  impressions  printed  less  heavily,  in 
which  all  the  richness  of  the  subject  was  preserved  without 
this  excessive  confusion.  To  judge  a dry-point  fairly,  we 
must  be  past  the  stage  in  which  its  softness  strikes  and 
captivates  us,  for  this  softness  is  merely  a necessary  property 
in  the  process,  and  does  not  of  itself  imply  merit  in  the 
executant.  The  scene  here  is  one  of  those  charming 
glimpses  of  river,  where  the  stream  reflects  the  sky  before  it 
hides  itself  again  under  the  dark  woods.  It  is  evening,  and 
the  time  seems  later  than  sunset ; the  copy  before  me  might 
pass  for  late  twilight,  so  lost  are  the  details  in  the  inky 
depths  of  shade.  Landscape  art  is  often  dear  to  us  from  its 
connection  with  healthy  pleasures  and  agreeable  reminiscences. 
Let  us  suppose,  that  we  may  the  better  enjoy  this  plate,  that 
we  have  descended  the  river  so  far  in  a canoe,  and  are  pausing 
here  whilst  the  sun  sets  beyond  the  dark  forest.  It  must,  of 
course,  be  a river  wholly  unknown  to  us,  and  we  ought  to 
feel  a little  anxiety  and  apprehension  about  our  twilight 
course  through  those  solemn  woods. 

Shere  Mill-pond , Surrey. — The  preparation  for  this 
volume  has  compelled  me  to  examine  all  the  most  notable 
etchings  which  have  been  produced  since  the  invention  of  the 
art.  In  the  course  of  these  studies,  I have  looked  over 
several  thousand  plates,  and,  having  selected  two  or  three 
hundred  of  the  best,  weighed  their  relative  merits  with  the 
most  scrupulous  care.  The  reader  will,  therefore,  do  me  the 
justice  to  believe  that  any  expression  of  opinion  to  which  I 
commit  myself  has  been  preceded  by  long  deliberation.  It 
is  easy  to  blame  ; and  censure  has  always  this  element  of 
safety,  that  there  is  imperfection  or  at  least  limitation,  in  all 
human  endeavour,  and  that  he  who  discovers  faults  places 
himself  on  a judicial  seat,  whilst  humble  admiration  implies 
some  acknowledgment  of  inferiority.  A great  critic  of  litera- 
ture observed  to  me,  that  it  needed  courage  to  praise  without 


HADEN. 


305 


reserve ; and  there  is  so  little  reserve  in  what  I am  going  to 
say,  that  I need  this  courage  now. 

With  the  single  exception  of  one  plate,  by  Claude,  this 
is  the  finest  etching  of  a landscape  subject  that  has  ever  been 
executed  in  the  world. 

The  plate  by  Claude,  alluded  to  above,  is  the  one  known 
as  “ the  Bouvier.”  We  shall  have  more  to  say  of  Claude’s 
masterpiece  in  its  due  place.  Such  superiorities  as  it  may 
have  over  this  plate  of  Haden’s  are  compensated  by  other 
and  different  superiorities  in  the  English  master,  and  the  two 
etchings  may  fairly  divide  our  suffrages.  In  all  fine  art, 
strength  and  delicacy  are  the  extremes  of  expressional  power, 
and  the  stronger  the  strength  and  the  more  delicate  the 
delicacy,  the  larger  in  this  sense  is  the  compass  of  the  artist. 
In  this  plate  we  have  both,  and  both  in  the  supreme  degree. 
The  strength  is  not  expressed  by  violence,  but  by  the 
unimaginable  richness  of  the  great  soft  masses  of  near  foliage, 
and  the  rapid  sketching  of  the  nearest  reeds.  The  wild  duck 
is  put  in  with  a few  incisive  lines  of  dry-point,  so  true  in 
movement  that  the  bird  is  set  before  us  with  a vital  force. 
The  heavy  body  hangs  from  the  lifting  wings,  and  the  head 
peers  forward  in  the  alarm  of  sudden  flight.  Under  the 
reeds  the  water  is  dark  with  full  reflection,  but  where  the 
wild  duck  has  just  quitted  it,  there  is  a bright  confusion  of 
momentary  disturbance.  The  smooth  little  wavelets  play 
softly  amongst  the  reeds,  and  their  liquid  swelling  and  the 
flight  of  the  bird  that  caused  them  are  the  only  notes  that 
break  a melody  of  repose.  And  as  to  the  right  hand  we 
have  foliage  in  the  utmost  fulness  of  great  masses,  so  in  the 
centre  and  to  the  left  of  the  composition  we  have  it  in  its 
slenderest  grace.  There  is  no  contrast  in  human  or  animal 
form  so  marked  and  extreme  as  this.  From  the  wild  duck 
to  the  heron,  from  the  ox  to  the  giraffe,  the  transition  is  not 
so  great  as  that  from  the  orbed  immensity  of  the  full-foliaged 
chestnut  to  the  slimness  of  the  young  poplar,  whose  leaves 

X 


HADEN. 


306 

may  be  almost  counted,  and  whose  trunk  may  be  grasped 
with  the  hand.  But  all  these  things  are  obvious,  and  may  be 
easily  expressed  in  words  ; that  which  is  not  so  obvious  nor 
so  easily  written  about,  is  the  subtle  play  of  soft  gradations 
like  the  modulations  of  tenderest  music  ; the  passage  from 
dll  that  is  richest  and  fullest  to  all  that  is  thinnest  and 
clearest,  a transition  managed  without  abruptness,  without 
violence,  yet  passing  from  extreme  to  extreme. 

House  of  Benjamin  Davis , Smith  (. Newcastle-in-Emlyn , 
South  Wales').- — This  may  be  taken  as  fairly  representative 
of  Mr.  Haden’s  sketches  on  copper.  A sketch  of  this  kind 
may  be  easily  done  in  three  hours,  if  the  artist  is  clever 
enough  to  do  it  at  all,  and  it  may  be  done  as  conveniently 
in  the  acid  bath  as  out  of  it.  Mr.  Haden  has  a way  of 
leaving  large  white  spaces  in  his  foreground,  so  that  sometimes 
his  compositions  do  not  seem  solidly  based  ; but  the  advan- 
tage of  a white  space  is  undeniable  when  there  is  a fair 
excuse  for  leaving  one  ; it  affords  repose  to  the  eye,  and 
gives  by  contrast  a value  to  the  blacks,  and  consequently  a 
brilliance  to  the  whole  work,  which  are  not  otherwise  so 
easily  attainable.  These  plates  at  one  sitting  have  an 
advantage  on  the  score  of  freshness,  but  they  can  scarcely 
be  either  rich  in  detail  or  complete  in  tonality,  and  when 
good  they  are  rather  of  the  nature  of  artistic  memoranda, 
than  works  of  deliberate  purpose.  In  this  case,  although 
the  vehicles  cast  shadows,  and  the  house  is  in  full  light,  there 
is  a curious  absence  of  illumination  on  the  foliage,  and  the 
plate  has  a confused  look  which  is  not  altogether  satisfactory. 

Early  Morning  in  Richmond  Park. — There  is  a faint  little 
inscription  in  dry-point  to  the  left  of  the  plate,  from  one  of 
the  songs  of  Shakspeare,  “ The  lark  at  heaven’s  gate  sings,” 
and  in  the  space  of  perfectly  white  paper,  which  is  here 
made  to  represent  the  bright  early  sky,  the  bird  is  faintly 
visible.  This  poetical  quotation  may  have  been  added  when 
the  plate  was  retouched,  for  there  is  abundant  dry-point  work, 


HADEN ; 


307 

and  a roughening  of  the  copper  on  the  foliage,  which  indicate 
labours  subsequent  to  those  with  the  needle.  But  whether  the 
quotation  occurred  to  the  artist  in  the  presence  of  nature,  or 
not,  the  conception  of  the  plate  itself  has  a poetry  of  its  own, 
and  it  is  filled  with  the  freshness  of  morning.  The  contrast  of 
light  and  dark  on  the  trunks  of  the  great  trees  is  somewhat 
violent  and  excessive,  and  would  not  stand  the  test,  the  one 
true  test  of  tonality,  of  translation  into  colour.  If  a painter 
took  this  etching  and  tried  to  make  a picture  from  it,  he 
could  not  preserve  this  violence  of  contrast,  for  he  could  not 
paint  his  tree  with  pure  flake  white  on  the  side  where  the 
sun  strikes  it,  and  pure  ivory  black  on  the  other.  There  is 
a sooty  heaviness  in  these  shades  which  really  injures  the 
effect  whilst  apparently  adding  to  its  force ; but  the  trunks 
are  drawn  with  perfect  knowledge  of  their  structure,  and  a 
masterly  indication  of  bark.  There  is  a little  tree  on  the 
lower  land,  the  summit  of  whose  foliage  is  caught  by  the 
sunshine,  and  as  it  were,  burnt  by  it  in  a glitter  of  silvery 
flame  as  light  as  the  white  sky  itself.  This  is  an  exaggeration, 
but  a permissible  one,  for  it  helps  the  expression  of 
splendour.  There  is  an  unaccountable  salissure  to  the  left 
under  the  sun,  which,  whatever  it  may  have  been  intended  to 
mean,  expresses  no  object  or  appearance  of  objects  visible  in 
distant  landscape ; but  though  the  plate  has  obvious  defects, 
it  has  the  one  great  merit,  which  in  etching  makes  almost 
any  defect  pardonable,  the  unity  of  a genuine  impression. 

Battersea  Reach. — The  same  feeling  which  suggested  the 
introduction  of  the  lark  in  the  preceding  subject  has  sug- 
gested the  balloon  in  this ; it  helps  to  give  the  sense  of  space 
and  air,  and  reminds  us  that  the  white  paper  there  is  not  to 
be  paper  for  us,  but  atmosphere.  Mr.  Haden’s  love  for  large 
white  spaces  was  never  more  strikingly  manifested  than  in 
the  last  or  published  state  of  this  etching.  In  the  earlier 
state  the  river  was  crowded  with  boats,  but  now  these  have 
been  removed  wherever  it  reflects  the  sky,  and  a vast  bright 


3°8 


HADEN. 


surface  is  left  unbroken,  a surface  so  bright  that  it  is  out  of 
relation  to  the  actual  whiteness  of  the  sky,  which  we  must 
fancy  a little  brighter  still.  The  massive  sketching  of  the 
buildings  on  the  opposite  shore  adds,  by  its  extreme  solidity, 
to  the  curious  appearance  of  suspension  between  two  voids. 
This  crowded  shore,  with  its  houses  and  prisons  of  stone, 
seems  to  hang  like  a planet  in  the  pure  ether,  or  the  Island 
of  Laputa  in  the  air.  This  idea  is  the  artistic  motive  of  the 
work,  and  the  strange  charm  of  the  etching  may  be  due  to  a 
vague  sense  of  the  unexpressed  analogy  between  these  sub- 
stantial buildings  ofBattersea  suspended  between  two  infini- 
ties, and  resting  apparently  upon  nothing,  and  the  stern  prose 
of  the  life  of  man  between  the  two  eternities. 

The  Agamemnon  * — The  plate  measures  1 6 in.  by  7-g-  in. 
It  is  drawn  upon  to  the  edges.  There  is  no  margin  on  the 
copper.  Thus  the  plate-mark  coincides  with  the  edges  of  the 
drawing,  and  there  are  no  ruled  lines.  I think  that  it  is  wise 
to  arrange  etchings  in  this  way  generally,  because  the  ruled 
lines  are  in  too  strong  contrast  with  the  liberty  of  the  etched 
ones,  and  the  simple  plate-mark  is  less  formal.  At  the  same 

* This  etching  is  not  included  in  the  portfolio  which  contains  the  plates 
hitherto  enumerated.  It  was  published  separately  and  more  recently.  No 
etching  ever  published  has  been  so  successful,  indeed  the  profits  which  it  realised 
immediately  were  so  great  as  to  equal  the  price  of  a firstrate  picture  in  the 
Academy,  whilst  if  the  time  spent  is  considered,  there  have  not  been  more  than 
three  or  four  painters  who  have  ever  earned  so  much  in  so  few  hours.  Far  indeed, 
however,  from  ideas  of  money-getting  was  the  mind  of  the  artist  when  he  set  about 
his  task.  Fie  had  abandoned  etching  on  account  of  professional  duties,  and  it  was 
I who  induced  him  to  resume  the  point.  I had  just  founded  the  Portfolio , and 
begged  Mr.  Fladen  to  etch  a plate  for  the  young  periodical  on  our  usual  terms, 
suggesting  that  the  money  might  be  handed  over  to  some  charity.  He  accepted, 
and  was  glad  to  earn  something  in  this  way  for  the  hospital  he  has  founded.  With 
this  view  he  went  to  etch  the  Agamemnon,  taking  the  copper  with  him  and  work- 
ing directly  from  nature,  but  the  copper  was  too  big  for  the  Portfolio , so  it  was 
decided  he  should  do  something  else  for  us  and  publish  the  Agamemnon  plate 
separately.  This  was  very  fortunate,  as  it  turned  out,  for  it  is  quite  possible  that  if 
the  plate  had  appeared  in  a periodical  it  might  have  attracted  less  attention, 
whereas,  having  strength  to  stand  alone,  its  importance  was  fully  recognised. 


PLATE  XI. 


Part  of  the  plate  known  as 
“THE  AGAMEMNON/’ 

By  F.  SEYMOUR  HADEN. 


Copied  by  the  Author. 


PLATE  XI. 

(To  be  placed  opposite  page  308.) 

Part  of  the  plate  known  as  “The  Agamemnon.” 

By  F.  Seymour  Haden. 

Copied  by  the  Author. 

This  includes  a very  small  portion  of  Mr.  Haden’s  large  plate,  and  does  not 
give  any  of  his  deepest  foreground  bitings.  The  importance  of  the  cloud  markings 
in  the  sky  can  scarcely  be  understood  without  reference  to  the  entire  sky  in  the  ori- 
ginal. The  sun,  in  this  fragment,  necessarily  appears  exaggerated  in  size,  and  the 
buildings  in  the  distance  look  more  carelessly  drawn  than  they  do  in  the  original, 
because  of  their  greater  relative  importance  in  this  small  fragment. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

The  palest  lines  about  sun,  sky,  distance,  and  water  . 

7 

Darker  lines  in  distance  ...... 

12 

Domes  and  buildings  of  Greenwich  ..... 
Dreadnought  (hulk  to  left)  and  sail  of  barge  and  distant  vessel,  also 

17 

some  ripple  in  water,  and  some  of  the  lighter  touches  on 
Agamemnon  ....... 

25 

The  Agamemnon  (prow  to  the  right)  .... 

45 

Portion  of  barge  in  right-hand  comer  and  foreground  ripple 

65 

First  proof  taken. 

Plate  prepared  for  rebiting. 

The  portions  rebitten  were  the  domes  and  buildings  of  Greenwich  (ex- 
cept those  behind  the  barge  with  the  dark  sprit-sail)  also  the  Dreadnought 
and  sail  of  the  barge,  and  the  anchor  of  the  Agamemnon.  They  were 

rebitten  for  eight  minutes. 

Second  proof  taken. 

Faint  lines  now  added  with  the  dry-point,  or  else  obtained  by  reducing 
with  the  scraper  and  burnisher  some  of  those  which  had  bitten  seven  minutes. 
The  Dreadnought  is  shaded  with  the  burin  over  the  etched  lines.  The 
lower  part  of  the  Agamemnon,  near  the  water,  is  shaded  with  dry-point. 
So  is  the  buoy.  Some  lines  in  the  Agamemnon  are  deepened  with  the 
burin,  others  are  reduced  with  the  scraper. 


This  plate  is  printed  as  follows  : — The  whole  is  first  wiped  with  the  can- 
vas only  (not  the  hand)  and  then  the  stern  of  the  Dreadnought,  the  ripple 
and  portion  of  barge  in  the  immediate  foreground,  and  part  of  the  Aga- 
memnon, are  retrousses. 


t 


IIADEN. 


3°9 


time  the  slight  depression  of  the  etched  surface  is  good  and 
assists  the  effect,  making  the  margin  like  the  frame  to  a 
picture,  and  when  ribbed  or  rough  paper  is  employed  the 
etched  surface  alone  is  made  smooth  by  pressure,  whereas 
when  there  is  a copper  margin  the  paper  is  smooth  also 
between  the  etching  and  the  plate-mark.  In  the  latter  case 
the  formality  of  ruled  lines  is  now  frequently  avoided  by 
letting  the  etched  work  of  the  drawing  come  up  to  an  imag- 
inary line  rather  irregularly. 

The  sentiment  of  this  etching  is  very  like  that  of  Turner’s 
well-known  picture,  the  Temtraire.  In  the  picture  an  old 
war-ship  of  the  heroic  time  is  being  towed  to  her  last  berth, 
there  to  be  broken  up  like  a rotten  cask  ; in  the  etching 
another  such  old  war-ship  has  actually  arrived  at  her  last 
berth,  and  the  destroyers  are  already  at  work  upon  her.  If 
there  is  any  sight  in  the  world  which  can  touch  the  heart  of 
an  Englishman,  it  is  this.  Until  now  the  ship  has  been  alive 
still,  though  superseded  by  later  models,  but  now  an  official 
decision  has  pronounced  her  to  be  dead,  and  sentenced  her 
to  dissolution.  She  floats  yet,  and  there  are  men  in  her,  but 
they  are  doing  exactly  the  same  work  as  the  worms  in  a 
dead  war-horse.  They  have  destroyed  a good  deal  already. 
Every  mast  and  every  spar  is  gone  except  the  mizzen  and 
the  flag-staff  at  the  stern,  and  even  that  mizzen  is  bared  of 
its  shrouds.  From  figure-head  to  taffrail  the  bulwarks  are 
cleared  away,  and  the  timbers  stand  up  like  a shattered 
battlement,  showing  the  sky  between  them.  As  the  planking 
is  gradually  torn  off  it  will  bare  the  ribs  from  deck  to  deck 
down  to  the  water’s  edge.  But  this  is  not  to  be  done  to-day, 
so  we  may  look  at  those  long  rows  of  port-holes  till  the  sun 
is  down.  No  more  battle-thunder  will  ever  come  out  of  them, 
they  are  nothing  now  but  so  many  windows  without  glass, 
and  provided  with  uncommonly  thick  shutters,  some  closed, 
some  partially  lifted  up.  Now  let  us  use  our  imaginations  a 
little  and  see  the  old  ship  as  she  was  in  the  day  of  battle 


3io 


HADEM 


with  all  her  sails  set,  gliding  swiftly  and  steadily  towards  the 
enemy’s  line,  silent  as  a charged  thunder-cloud  before  the 
lightning  flashes.  Not  until  she  gets  very  near  will  she  break 
that  ominous  silence.  Then  suddenly  half  her  port-holes 
open  together,  half  her  guns  thrust  out  their  deadly  muzzles, 
a tongue  of  red  flame  leaps  out  from  each,  followed  by  a long 
puff  of  smoke,  and  then  comes  such  a roar ! Crash  go  the 
flying  balls  into  the  enemy ! — Well,  we  have  all  read  such 
descriptions,  and  we  all  remember  how, 

With  thunders  from  her  native  oak 
She  quells  the  floods  below, — 

As  they  roar  on  the  shore, 

When  the  stormy  winds  do  blow  ; 

When  the  battle  rages  loud  and  long, 

And  the  stormy  winds  do  blow. 

Perhaps  these  very  lines  may  have  been  ringing  in  the 
etcher’s  memory  when  he  sat  down  to  his  task,  certainly  the 
sentiments  and  recollections  I have  just  expressed  were  his. 
The  Agamemnon  was  not  to  him  merely  a floating  wooden 
thing  of  rather  a picturesque  shape,  nor  was  that  figure- 
head, with  its  British-Greek  helmet  and  crest,  merely  a 
reference  to  the  war  in  Troy,  for  the  wooden  Agamemnon 
had  been  in  sublimer  battle  than  any  Grecian  leader. 

With  such  a subject  as  this  for  a motive,  an  etcher  will 
do  manly  work  if  the  strength  to  do  it  is  in  him.  And  this 
is  manly  work.  I know  very  well  the  sort  of  criticism 
which  would  be  applied  to  this  etching  by  a critic  who  had 
recently  acquired  some  knowledge  of  light  and  shade,  and 
felt  proud  of  his  acquirement.  He  would  say,  “ With  the 
sun  in  that  position  many  parts  which  are  left  white  in  the 
etching  would  be  strongly  shaded,  for  example  the  figure- 
head, fish-davit,  and  dead-wood  about  it  ought  not  to  have 
been  left  white  against  that  luminous  sky,  for  they  would 
have  come  dark  against  it.  The  barge  in  the  foreground  in 
the  left-hand  corner  ought  to  have  had  its  side  very  darkly 


HAVEN. 


3*i 

shaded  indeed,  and  so  ought  the  square  timbers  to  the  right. 
It  would  even  be  impossible,  with  the  sun  in  that  position, 
that  there  should  be  any  white  spaces  on  the  side  of  the 
Agamemnon  whatever.  On  the  other  hand  the  side  of  the 
other  old  hull  in  the  distance  ought  to  have  been  lighter,  for 
it  really  would  in  some  degree  catch  the  sunshine.  The 
buildings  at  Greenwich  are  not  lighted  as  if  the  sun  were 
behind  them,  but  as  if  it  were  on  the  opposite  side  of  the 
river.  The  only  bit  of  true  tone  is  the  sprit-sail  of  the  barge 
near  the  bows  of  the  Agamemnon,  but  there  are  so  many 
things  to  contradict  it  (for  instance,  the  buoys  at  her  stern) 
that  this  bit  of  truth  (and  even  the  sprit-sail  is  too  dark  to 
be  quite  true)  only  makes  the  general  falsity  more  glaring. 
As  for  the  sky,  the  sun  is  exactly  of  the  same  tone  as  the 
sky,  and  the  sails  behind  the  Agamemnon,  and  the  water 
wherever  there  is  no  ripple. 

This  is  the  kind  of  criticism  which  is  often  applied  to 
line-etchings,  but  I pay  the  supposed  critic  the  very  rarely 
deserved  compliment  of  presuming  that  he  really  does  know 
something  about  tone,  and  can  put  his  finger  at  once  on  the 
tonic  solecisms.  The  answer  to  all  such  fault-finding  is 
simply  that  a genuine  artist,  when  he  has  achieved  his 
purpose,  sets  it  at  defiance.  Art  is  not  the  slave  of  nature, 
but  an  independent  force  using  nature  as  a mine  of  materials. 
An  artist  may  fairly  be  blamed  for  ignorance  of  tone,  he  is 
hardly  ever  blameable  for  wilful  and  open  transgression  in 
view  of  some  greater  purpose.  Now  the  tonic  relations  of  this 
plate  are  utterly  false  and  indefensible.  I admit  it ; but  then 
I affirm  at  the  same  time  that  such  a pretence  to  full  light- 
and-shade  as  would  have  quite  contented  a vulgar  critic 
would  in  all  probability  have  been  still  worthless  in  itself 
and  purchased  at  the  cost  of  everything  which  makes  this 
plate  the  strong  performance  that  it  is.  The  purpose  of  the 
artist  was  not  expression  by  shade,  but  expression  by  line, 
and  I think  he  has  made  his  meaning  plain.  He  pre- 


I12 


HADEN. 


supposes,  of  course,  a certain  willing  activity  of  sympathetic 
imagination  in  the  spectator,  and  also  some  intelligence. 
Art  of  this  kind  certainly  does  not  address  itself  to  the 
stupid  portion  of  mankind,  who  would  do  well  to  keep  out 
of  its  way.  It  is  taken  for  granted  that  when  we  have 
seen  that  thin  circular  line  so  simply  drawn  above  Green- 
wich, we  shall  have  memory  and  imagination  enough  of  our 
own  to  see  the  orb  of  fire,  that  the  black  marks  in  the  sky 
will  be  clouds  for  us,  and  those  on  the  water  ripples.  Just 
on  the  same  principle  it  is  presumed  that  those  parts  which 
the  etcher  has  thought  it  better  not  to  shade  will  be  shaded 
more  delicately  and  more  truly  by  our  own  awakened 
imagination.  The  most  that  can  fairly  be  asked  from  work 
of  this  kind  is  that  the  lines  in  it  should  be  first  well  selected 
and  then  soundly  drawn.  In  this  etching  they  are  so. 

I must  ask  the  reader  to  give  his  attention  in  this  place 
whilst  I endeavour  to  make  clear  a certain  property  of  lines 
which  has  never  been  critically  considered.  Let  it  be 
supposed  that  you  are  working,  or  intending  to  work,  in 
pure  line,  that  is  to  say,  that  you  are  using  the  line  for 
outlines  or  suggestions  of  outline,  and  for  organic  markings, 
shading  in  the  meantime  as  little  as  possible.  You  are  not 
intending  to  shade,  and  yet  your  markings,  in  proportion  to 
their  quantity,  will  always  inevitably  be  so  much  shading  in 
the  general  effect.  For  example,  the  figure-head,  fish-davit, 
etc.,  in  the  Agamemnon  are  not  shaded  at  all,  but  only  drawn 
organically,  and  yet  as  a certain  amount  of  black  is  laid  on 
the  paper  in  so  drawing  them,  the  consequence  is  that  the 
eye  strikes  an  average  between  this  black  and  the  white 
spaces,  so  that  the  white  spaces  do  not  seem  false  until  we 
consider  them  independently.  And  so  it  is  with  the  whole 
side  of  the  vessel.  You  may  find  many  small  spaces  in  it 
which  are  certainly  false,  taken  alone,  but  the  effect  of  the 
whole  seen  together  at  a little  distance  is  very  nearly  right 
This  principle  may  appear  new  to  some  readers,  and  yet  all 


HADEN. 


3i3 

line-engraving  depends  upon  it,  for  even  the  grey  tint  in  the 
most  delicate  shading  with  the  diamond  does  in  reality 
represent  an  average  that  the  eye  strikes  between  spaces 
* which  are  perfectly  black  and-  spaces  which  are  perfectly 
white.  Hence,  when  an  artist  has  done  much  for  texture  in 
line,  it  is  probable  that  he  may  have  been  shading  at  the 
same  time,  almost  without  being  aware  of  it.  The  type  of 
this  volume  is  a kind  of  shading  on  the  page,  though  quite 
unintentional,  and  at  a little  distance  it  will  make  the  page 
look,  not  white  and  black,  but  grey.  Now  if  the  reader 
returns  to  the  Agamemnon  with  the  conviction  that  every 
black  line  in  an  etching  is  sure  to  tell  as  shade,  he  will 
perceive  that,  merely  by  marking  things  or  not  marking 
them,  the  artist  has  often  suggested  shade  or  left  it  unsug- 
gested. For  example,  the  sky  is  left  very  open  about  the 
sun,  but  it  is  much  more  marked  with  cloud-lines  as  the 
distance  from  the  sun  increases.  You  suspect  no  shading 
here,  and  there  is  really  none  of  an  avowed  kind,  but  all 
these  cloud-markings  produce  in  the  aggregate  an  effect  of 
shade,  and  do,  in  fact,  give  a gradation.  So  it  is  with  the 
markings  for  little  waves  upon  the  water ; they  too  give 
graduated  shade,  though  apparently  intended  to  indicate  only 
form.  Again,  it  is  perfectly  true  that  the  barge  in  the 
left-hand  corner  has  nothing  of  what  we  call  shading  on  its 
side,  where  it  ought  to  be  very  black  if  the  exact  truth  were 
given,  but  now  see  the  subtle  operation  of  the  law  just 
indicated.  That  barge  has  very  powerfully  bitten  markings 
which  make  a dark  mass  of  it  as  a whole,  and  the  white 
spaces,  though  broad,  are  so  influenced  by  the  near  neighbour- 
hood of  the  black  markings  that  the  mind  is  not  shocked  by 
their  falsity  until  it  is  pointed  out,  and  even  then  speedily 
forgives  it.  Replace  those  deeply-bitten  thick  markings  by 
pale  ones,  and  the  solecism  would  be  at  once  intolerable. 
The  plain  truth  is  that  there  is  hardly  any  intentional  shad- 
ing whatever  in  this  plate  ; it  is  nearly  all  of  it  line-drawing  of 


HADEN. 


3i4 

definite  things,  and  yet  the  drawing  is  so  managed  and  so  dis- 
tributed as  to  suggest  shading  besides.  The  whole  secret  may 
be  condensed  into  a precept.  Keep  open  spaces  in  light  parts , 
let  your  lines  be  few  there  ajid  also  thin , but  in  darker  parts 
you  may  put  more  and  stronger  markings*  I may  observe 
that  even  such  things  as  the  lines  of  cordage  here  have  a 
very  important  effect  in  the  general  distribution  of  light  and 
dark,  though  they  do  not  look  as  if  put  there  for  that  purpose. 

There  is  a great  deal  of  texture  in  this  etching,  especially 
in  the  Agamemnon — some  would  say  too  much — but  it  pleases 
me  because  it  is  explanatory  of  substance  and  structure,  the 
direction  of  the  lines  always  answering  to  that  of  the  plank- 
ing. What  I value  more,  however,  than  any  texture  is  the 
cunning  selection  of  the  most  expressive  lines  in  the  flowing 
water,  as  it  eddies  and  washes  past  barge,  and  buoy,  and 
vessel.  There  is  much  firm  good  drawing  too  about  the 
cordage  and  the  crane.  Stretched  ropes  look  easier  to  draw 
than  they  really  are,  and  they  are  seldom  well  done  in  etching. 
There  is  always  a slight  curve  in  them,  except  in  the  shrouds 
of  a ship,  which  are  screwed  up  like  fiddle-strings,  and  even 
here  there  is  a curve  sometimes.  An  etcher  generally  does 
one  of  two  things,  either  he  rules  the  line  and  takes  all  the 
life  out  of  it  by  so  doing,  or  else  his  hand  is  uncertain,  as 
Zeeman’s  was,  and  gives  the  curve  weakly  and  tremulously. 
It  is  rare  to  find  the  curve  of  a rope  drawn  at  once  truly  and 
decisively. 

I remember  that  a critic,  though  without  mentioning  Mr. 
Haden  by  name,  wrote  something  about  " attitudinising  with 
the  free  and  frank  line,”  in  evident  reference  to  my  praise  of 
him.  Now  Mr.  Haden  certainly  does  not  “ attitudinise  ” with 
the  line,  but  uses  it  with  the  most  unaffected  simplicity  of 

* This  is  different  from  M.  Lalanne’s  precept,  and  also  from  the  usual  practice 
of  engravers,  who  put  many  lines  in  light  parts  to  get  the  effect  of  a grey  tint.  The 
engravers  also  use  many  dark  lines  for  shading,  even  when  they  are  intended  to 
signify  nothing  else. 


HADEN. 


3i5 


purpose.  The  same  critic  said  that  Rembrandt’s  business 
was  not  to  show  how  he  could  do  it,  but  what  there  is  to  be 
done,  implying  that  in  the  modern  school  of  the  line  there  is 
an  especial  ostentation  of  cleverness  in  method.  I should 
be  sorry  if  my  praise  of  certain  ways  of  interpretation  led 
any  reader  to  the  mistaken  conclusion  that  the  etcher  who 
uses  them  is  a sort  of  performer,  anxious  to  display  his  skill 
in  difficult  manual  tricks.  A genuine  artist  always  does 
wish  to  do  things  in  the  best  way,  but  this  is  not  from  vanity, 
it  is  from  the  desire  to  do  good  work,  which  is  a very  honour- 
able desire,  the  sign  of  a good  workman.  It  is  possible  that, 
as  a critic,  I may  think  more  about  the  “ how  ” than  artists 
themselves  do.  I do  indeed  attach  very  great  importance, 
to  the  “how,”  so  much  that  a thorough  knowledge  of  it 
seems  to  me  quite  essential  to  sound  criticism.  There  is  a 
sentence  of  Goethe  which  expresses  what  must  be  the  feeling 
of  every  critical  student.  “ Generally,”  he  says  of  Scott,  “ he 
shows  great  knowledge  of  art ; for  which  reason  those  like  us 
who  always  look  to  see  how  things  are  done,  find  especial 
pleasure  and  profit  in  his  works.” 


CHAPTER  VII 


CR UIKSHANK  AND  DOYLE. 

•pEW  more  interesting  subjects  could  occupy  a writer  on 
art  than  the  various  and  truly  original  genius  of 
Cruikshank,  but  I ca'nnot  speak  of  him  here  with  the  fulness 
which  his  inventive  faculty  deserves,  because  the  art  of 
etching  is,  in  his  plates,  so  often  subordinated  to  the  purposes 
of  the  caricaturist,  that  artistic  quality  is  hardly  ever  their 
principal  aim,  and  it  would  be  foreign  to  the  design  of  a 
work  of  this  kind  to  enter  largely  into  the  discussion  of 
merits  which,  however  deserving  of  honourable  recognition, 
are  often  moral  and  intellectual  rather  than  artistic.  Art, 
with  a great  social  or  political  purpose,  is  seldom  pure  fine 
art ; artistic  aims  are  usually  lost  sight  of  in  the  anxiety  to 
hit  the  social  or  political  mark,  and  though  the  caricaturist 
may  have  great  natural  faculty  for  art,  it  has  not  a fair 
chance  of  cultivation.  It  would  be  a mistake,  in  a volume 
intended  to  strengthen  the  position  of  etching  as  a fine  art, 
to  direct  attention  to  works  whose  interest  is  wholly  different, 
for  to  criticise  them  would  be  an  injustice  to  the  caricaturist, 
and  to  speak  much  of  their  peculiar  powers,  a digression. 
The  reader  may  remember  the  exhibition  of  Cruikshank’s 
works,  which  took  place  a few  years  ago,  at  Exeter  Hall. 
There  was  a large  oil-painting  in  the  room,  representing  the 
bad  effects  of  drinking  too  much  alcohol.  Its  social  purpose 
was  no  doubt  excellent,  but  it  lay  outside  of  artistic  criticism, 
because  there  was  no  attempt  at  any  one  artistic  excellence ; 
no  arrangement  of  form,  no  light  and  shade,  no  synthesis  of 


CRUIKSHANK  AND  DOYLE . 


3i7 


colour.  And  so  it  is  with  very  many  of  Cruikshank’s  etch- 
ings ; they  are  full  of  keen  satire  and  happy  invention,  and 
their  moral  purpose  is  always  good,  but  all  these  qualities 
are  compatible  with  a carelessness  of  art  which  is  not  to  be 
tolerated  in  any  one  but  a professed  caricaturist. 

There  is,  however,  in  Cruikshank,  an  artist  within  or 
behind  the  caricaturist,  and  this  artist  is  a personage  of 
exceptional  endowment.  His  invention  is  vivid,  and  his 
power  of  drawing  the  figures  invented  is  singularly  sprightly 
and  precise.  There  are  etchings  by  Cruikshank,  though 
these  are  not  numerous  in  proportion  to  the  mass  of  his  great 
labours,  which  are  as  excellent  artistically  as  they  are  notable 
for  genius  and  wit,  where  the  stroke  of  the  needle  is  as  happy 
as  the  thought,  and  where  the  student  of  etching  may  find 
models,  as  the  student  of  manners  finds  a record  or  a sugges- 
tion. In  etchings  of  this  high  class,  Cruikshank  carries  one 
great  virtue  of  the  art  to  perfection — its  simple  frankness. 
He  is  so  direct  and  unaffected,  that  only  those  who  know 
the  difficulties  of  etching  can  appreciate  the  power  that  lies 
behind  his  unpretending  skill ; there  is  never,  in  his  most 
admirable  plates,  the  trace  of  a vain  effort. 

I never  regretted  the  hard  necessity  which  forbids  an  art 
critic  to  shut  his  eyes  to  artistic  shortcomings  more  heartily 
than  I do  now  in  speaking  of  Richard  Doyle.  Considered 
as  commentaries  on  human  character,  his  etchings  are  so  full 
of  wit  and  intelligence,  so  bright  with  playful  satire  and 
manly  relish  of  life,  that  I scarcely  know  how  to  write  sen- 
tences with  a touch  at  once  light  enough  and  keen  enough 
to  describe  them.  But  they  are  of  no  value  as  works  of  art ; 
Doyle  never  selects  a line  as  the  great  men  do,  and  he  does 
not  seem  to  take  the  least  interest  in  local  colour  or  chiaros- 
curo. Though  shading  is  employed  to  give  projection  to 
the  personages,  Doyle’s  etchings  are  in  reality  conceived 
only  in  outline,  and  his  interpretation  of  nature  is,  when 
considered  from  the  artistic  point  of  view,  so  artless  as  to  be 


CRUIKSHANK  AND  DOYLE. 


3*8 

almost  puerile.  When  he  feebly  attempts  any  effect  of  light, 
he  is  always  lost,  and  knows  it ; in  these  cases  he  will  frankly 
abandon  the  effect  in  the  same  etching,  when  it  becomes 
inconveniently  difficult.  His  sense  of  the  nature  of  material 
is  quite  undeveloped,  and  he  never  draws  any  object  as  if  he 
had  looked  at  it.  This  absence  of  imitative  study  is  not,  in 
Doyle,  due  to  any  noble  abstraction,  but  is  mere  defect  of 
training  or  carelessness  of  art.  It  is  probable  that  this  art- 
lessness is  an  essential  element  in  the  complex  influences  of 
his  caricatures  ; the  artistic  statement  is  so  thoroughly  naif, 
that  we  enjoy  the  satire  the  more,  just  as  we  laugh  more 
heartily  at  a child’s'  portrait  of  his  papa  than  at  the  serious 
efforts  of  the  scientific  portrait-painter.  But  a critic  who  is 
anxious  to  obtain  for  etching  the  sort  of  consideration  which 
is  due  to  it  cannot  allow  his  readers  to  retain  the  impression 
that  such  work  as  this  of  Doyle  is  what  he  understands  by 
“etching,”  and  recommends  as  art,  and  it  is  a positive  mis- 
fortune that  the  popular  idea  of  what  etching  is  capable  of 
should  be  so  often  derived  from  work  of  this  kind,  the 
circulation  of  which,  from  its  connection  with  successful 
novels,  is  usually  much  more  extensive  than  that  of  artistic 
masterpieces.  Fifty  contemporary  Englishmen  know  Doyle’s 
illustrations  of  “The  Newcomes”  for  one  who  remembers 
Wilkie’s  “ Pope  examining  a Censer  ; ” and  when  etching  is 
mentioned  in  general  society,  the  associations  which  the 
word  calls  up  in  the  minds  of  the  majority  have  less  connec- 
tion with  the  treasures  of  the  British  Museum  than  with  the 
pleasant  companions  of  our  domestic  leisure. 

The  allusion  to  “ The  Newcomes  ” makes  it  impossible 
for  me  to  conclude  these  observations  without  acknowledg- 
ment of  the  all  but  inestimable  dramatic  value  of  the 
illustrations  which  accompanied  it.  Illustrations  to  imagina- 
tive literature  are  too  frequently  an  intrusion  and  an  imperti- 
nence, but  these  really  added  to  our  enjoyment  of  a great 
literary  masterpiece,  and  Doyle’s  conception  of  the  Colonel, 


CR  UIKSHANK  AND  DOYLE . 


3i9 


of  Honeyman,  of  Lady  Kew,  is  accepted  at  once  as  authentic 
portraiture.  In  Ethel  he  was  less  happy,  which  was  a 
misfortune,  as  she  was  the  heroine  of  the  book  ; but  many 
of  the  minor  characters  were  successes  of  the  most  striking 
and  indisputable  kind.  Gandish  and  the  other  artists,  the 
military  gentlemen,  the  dubious  Englishmen  and  foreigners, 
are  all  set  before  us  with  a veracity  that  is  not  the  less 
profound  that  it  is  illuminated  in  all  its  depths  by  the  light 
of  a genial  humour. 

CRUIKSHANK.  The  Folly  of  Crime. — The  plate  is  oblong 
and  upright,  the  centre  of  it  is  occupied  by  an  oval,  which  is 
enclosed  by  a prisoners  chain.  Outside  of  this  oval  frame 
are  ten  minor  subjects.  The  central  composition  represents 
the  edge  of  an  abyss  with  a precipice.  Smoke  and  flame 
rise  from  the  abyss,  and  near  the  edge  of  the  precipice  lies 
the  corpse  of  a murdered  man.  A demon  is  plunging  into 
the  flame  ; this  demon  holds  a vessel  on  his  head  with  both 
hands  ; the  vessel  contains  jewels  and  money  and  bank- 
notes. A powerfully-built  man,  having  the  aspect  of  a 
felon,  has  quitted  the  corpse  to  clutch  the  treasure ; he  has 
planted  his  foot  on  a stone  which  has  given  way,  and  falls 
from  the  precipice.  The  jewels  rise  as  if  they  were  serpents 
to  bite  his  hand  ; the  bank-notes  fly  away  in  the  flame  and 
are  burnt.  Twelve  demons,  having  glaring  eyes  and  grinning 
teeth,  congregate  in  the  dark  sky  over  the  man’s  head.  Some 
of  them  point  at  him  derisively,  and  he  wears  a fool’s  cap. 
The  minor  subjects  are  as  follows  : — (1)  A man  in  bed  with 
a heavy  weight  on  his  breast ; two  hands  issue  from  a cloud, 
one  bearing  a pair  of  scales,  the  other  a flaming  sword. 
Many  serpents  come  from  under  the  pillow  and  play  about 
his  head.  (2)  Two  men  on  a treadmill.  (3)  A prisoner  in 
the  corner  of  his  den  is  visited  by  his  gaoler,  who  is  bringing 
him  water  to  drink.  (4-5)  Two  prisoners  in  chains.  (6) 
Criminal  in  a fool’s  cap  lying  in  a heap  of  dung,  and  dying, 


320 


CRUIKSHANK  AND  DOYLE . 


or  very  ill,  in  the  last  extremity  of  poverty  ; on  the  wall 
behind  him  is  a placard  offering  fifty  pounds  reward.  (7)  A 
man  in  a fools  cap,  starting  at  his  own  shadow ; there  is  an 
advertisement  on  the  wall  offering  a hundred  pounds  reward. 
(8)  A man  running  away  with  bags  containing  a hundred 
pounds  each,  and  putting  his  foot  in  a trap.  (9)  Man  bearing 
a log  of  wood,  on  which  is  inscribed,  “ for  fourteen  years  ; ” 
there  is  a ship  in  the  distance.  (10)  Man  dragging  a log 
after  him  chained  to  his  foot,  and  bearing  upon  his  shoulders  a 
coffin,  on  which  is  inscribed,  “ for  life  ; ” before  him  is  his  grave 
with  his  spade  sticking  up  in  it.  The  sea  and  a ship  show 
that  he  is  a convict  in  a penal  colony. 

This  elaborate  plate  is  as  good  an  example  as  could  be 
chosen  of  Cruikshank’s  moral  teaching.  Its  lesson,  like  those 
of  Hogarth,  is  made  as  direct  and  obvious  as  possible,  and 
even  repeated  under  various  different  forms.  The  moral  is 
too  coarse  and  palpable  to  be  quite  satisfactory  to  a very 
thoughtful  observer  ; great  criminals  are  not  always  fools,  if 
folly  is  only  to  be  measured  by  the  troubles  into  which  it 
brings  itself ; but  the  true  philosophy  of  a subject  so  intricate 
as  this  would  be  too  subtle  for  the  caricaturist,  who  simply 
tells  us  that  Jack  or  Patrick  committed  murder  or  felony, 
and  was  sent  to  prison,  and  the  treadmill,  and  Botany  Bay. 
Cruikshank’s  argument  is,  that  because  Jack  by  crime 
exposed  himself  to  punishment,  and  got  punished,  therefore 
Jack  was  a fool  to  risk  consequences  so  unpleasant.  But 
might  not  the  same  prudential  argument  be  turned  against 
innocence  itself?  And  if  we  were  as  clever  caricaturists  as 
Cruikshank,  might  we  not  compose  a plate  illustrative  of  the 
folly  of  virtue  ? If  dishonesty  lands  its  more  artless  practi- 
tioners on  dunghills,  it  also  not  unfrequently  rewards  its 
craftier  votaries  with  considerable  comfort,  and  even  luxury ; 
and  the  readiness  to  lie  when  the  world  requires  it  has  saved 
many  a man  from  social  degradation.  Some  things  ought 
to  be  said  and  done  which,  if  estimated  in  this  prudential 


CRUIKSHANK  AND  DOYLE . 


32 


way,  are  follies,  and  nothing  is  proved  against  a criminal  by 
merely  showing  that  his  act  may  lead  to  unpleasant  results. 
A taste  for  reading  the  Bible,  which  is  not  now  considered 
blameable  in  this  country,  has  brought  hundreds  within  the 
terrible  grip  of  the  Inquisition.  Bad  deeds  are  not  distin- 
guishable from  good  deeds  by  the  reward  they  bring  to 
the  agent  ; and  if  homicide  leads  one  man  to  hard 
labour  for  life,  so  there  have  been  instances  where  it  has 
opened  paths  to  the  loftiest  social  ambition.  It  is  probable 
that  virtuous  men  enjoy  a serene  independence  of  out- 
ward circumstances  to  which  the  vicious  never  attain; 
failure  does  not  fret  them,  nor  hardship  weary  them  so  much  ; 
but  this  inward  peace  is  rather  beyond  our  Hogarths  and 
Cruikshanks,  and  it  is  even  beyond  the  sympathy  of  our 
common  public,  which,  in  its  commendable  love  for  good 
folks,  is  never  quite  content  unless  the  novelist  rewards  them 
with  a carriage  and  pair.  And  even  this  inward  peace  of 
the  virtuous  is  not  always  to  be  counted  upon,  for  virtuous 
people  are  not  always  altogether  satisfied  with  themselves. 

Without  being  one  of  the  most  remarkable  instances  of 
Cruikshank’s  unusual  precision  with  the  point,  this  etching  is 
accomplished  and  even  brilliant  in  execution.  There  are 
some  admirable  gradations  on  surfaces,  as,  for  instance,  that 
on  the  left  leg  of  the  large  central  figure,  and  there  is  a 
choice  of  means  affording  powerful  contrasts  of  manipula- 
tion. Observe  the  vigorous  touches  on  the  detached  stone, 
and  the  handling  on  the  figure  itself.  The  sea  and  sky  in 
the  little  subject  mentioned  above  as  number  9,  are  very 
simple  in  method,  but  as  good  as  the  bits  of  distance  in  some 
of  the  most  celebrated  old  masters. 

The  Elves  and  the  Shoemaker. — There  was  a shoemaker 
who  worked  very  hard  and  was  very  honest.  He  had  nothing 
left  but  leather  for  one  pair  of  shoes;  he  cut  it  out  and  laid 
it  aside  at  night,  and  next  morning  found  his  shoes  made. 
As  the  workmanship  was  very  good,  there  was  no  difficulty 

Y 


3 22 


CRUIKSHANK  AND  DOYLE. 


in  finding  a purchaser,  so  the  poor  shoemaker  bought  more 
leather  and  cut  out  several  pairs  of  shoes,  and  laid  the  pieces 
in  the  same  place  at  night,  and  the  next  day  found  the  shoes 
finished  with  the  same  excellent  workmanship.  The  process 
was  repeated,  till  the  shoemaker  became  rich ; then  he  and 
his  wife  determined  to  watch  at  night,  to  see  how  the  shoes 
were  made,  and  they  discovered  that  two  industrious  little 
elves  came  and  worked  for  them.  Then  the  shoemaker  and 
his  wife  resolved  in  their  gratitude  to  make  clothes  for  these 
elves,  because  they  were  naked,  and  they  made  little  garments 
and  laid  them  in  the  room  and  watched  for  the  elves,  who 
on  their  arrival,  dressed  themselves  with  great  glee  and  ran 
away  capering  out  of  the  door,  never  again  to  enter  it.  But 
the  shoemaker  and  his  wife  remained  rich  ever  after. 

This  pleasant  tale,  in  a well-known  book,  Grimm’s 
"German  Stories,”  was  so  well  adapted  to  the  genius  of 
Cruikshank,  that  it  has  suggested  one  of  the  very  best  of  all 
his  etchings.  The  two  elves,  especially  the  nearer  one,  who 
is  putting  on  his  breeches,  are  drawn  with  a point  at  once  so 
precise  and  vivacious,  so  full  of  keen  fun  and  inimitably 
happy  invention,  that  I have  not  found  their  equals  in  comic 
etching  anywhere,  and  they  are  as  supreme  in  their  own 
department  of  the  art  as  Haden’s  “ Shere  Mill-pond,”  or 
Claude’s  “Bouvier”  in  theirs.  It  is  said  that  these  elves  are 
regarded  with  peculiar  affection  by  the  great  master  who 
created  them,  which  is  only  natural,  for  he  has  a right  to  be 
proud  of  them.  The  picturesque  details  of  the  room  are 
etched  with  the  same  felicitous  intelligence,  but  the  marvel 
of  the  work  is  in  the  expression  of  the  strange  little  faces, 
and  the  energy  of  the  comical  wee  limbs. 

Reiurn  from  a delightful  Trip  on  the  Continent. — This  is 
a fair  specimen  of  Cruikshank’s  simple  manner.  It  is  a scene 
of  sea-sickness ; a boatful  of  passengers,  male  and  female, 
are  landing  from  a continental  steamer.  The  sea  is  very 
rough,  and  in  the  little  transit  the  passengers  suffer  acutely. 


CRUIKSHANK  AND  DOYLE. 


323 


One  old  gentleman,  who  bends  over  the  water,  as  people  in 
this  lamentable  condition  are  wont  to  do,  has  lost  his  hat  and 
wig,  and  there  is  intentional  satire  in  the  resemblance 
between  the  cap  of  another  passenger,  whose  loose  ear-flaps 
are  lifted  by  the  wind,  and  the  headgear  consecrated  to  fools. 
Two  thick  sailors  are  rowing,  and  the  women  are  in  the 
utmost  misery  and  confusion.  The  adjuncts  are  sketched  as 
suggestively  as  those  in  the  wroodcuts  of  John  Leech.  The 
spray  leaps  high,  and  the  steam  and  smoke  from  the  funnels 
of  the  ship  are  carried  away  in  straight  lines  by  the  gale. 

Dongal  MacCallum  and  Hutcheon. — An  illustration  of 
an  incident  in  “ Redgauntlet,”  narrated  as  follows  by  the 
novelist : — 

“When  midnight  came,  and  the  house  was  quiet  as  the 
grave,  sure  enough  the  silver  whistle  sounded  as  sharp  and 
shrill  as  if  Sir  Robert  were  blowing  it,  and  up  got  the  twa 
auld  serving-men  and  tottered  into  the  room  where  the  dead 
man  lay.  Hutcheon  saw  aneugh  at  the  first  glance,  for  there 
were  torches  in  the  room  which  showed  him  the  foul  fiend,  in 
his  ain  shape,  seated  on  the  Laird’s  coffin.” 

This  is  one  of  the  best  of  Cruikshank’s  many  book- 
illustrations.  The  union  of  comedy  with  solemn  circum- 
stances gives  free  expression  to  both  the  great  faculties  of 
the  caricaturist.  Cruikshank  is  a comic  etcher,  and  the 
greatest  comic  etcher  who  ever  lived,  but  his  mind  realises 
the  solemnity  of  death.  This  coffin  lying  in  state,  with  a 
monkey  perched  on  the  top  of  it,  and  two  domestics  horror- 
stricken  at  the  demoniacal  apparition,  is  a subject  very 
suitable  to  a genius  in  which  a sense  of  the  ridiculous  co- 
exists with  the  most  tragic  earnestness. 

DOYLE.  A student  of  the  Old  Masters. — Colonel  New- 
come  is  sitting  in  the  National  Gallery,  trying  to  see  the 
merits  of  the  old  masters.  Observe  the  enormous  exaggera- 
tion of  aerial  perspective  resorted  to  in  order  to  detach  the 


324 


CRVIKSHANK  AND  DOYLE. 


figure  of  the  Colonel.  The  people  behind  him  must  be 
several  miles  away  ; the  floor  of  the  room,  if  judged  by  aerial 
perspective  only,  is  as  broad  as  the  lake  of  Lucerne. 

His  Highness. — Colonel  Newcome  is  saluted  by  the 
Indian.  Observe  the  entire  absence  of  local  colour.  The 
Colonels  black  hat  and  blue  coat,  and  Barnes  Newcome’s 
black  evening  costume  have  exactly  the  same  weight  of 
colour  as  Colonel  Newcome’s  white  shirt-frill. 

A Meditation. — Clive  is  meditating  in  his  studio  on  the 
vanity  of  mediocre  painting.  The  opportunity  was  a good 
one  for  clever  sketching  of  still  life,  but  it  has  not  been  seized 
upon  or  cared  for,  and  Doyle  has  taken  no  interest  in  the 
things  that  surround  the  artist,  which  are  sketched  quite 
unobservantly. 


CHAPTER  VIII, 


SAMUEL  PALMER. 

artist  is  one  of  the  few  really  great  English  etchers, 
but  as  it  results  from  the  nature  of  his  work  that  each 
plate  of  his  is  very  costly  in  time,  and  as  he  happens  to  be  a 
successful  painter  in  water-colour,  the  consequence  is  that  his 
production  in  etching  has  been  extremely  limited.  For  reasons 
which  I have  endeavoured  to  explain  in  the  chapter  on  the 
Revival  of  Etching  in  England,  a successful  painter,  however 
well  he  may  be  able  to  etch,  can  do  so  only  at  a sacrifice,  and 
etching  is  too  laborious,  as  well  as  too  much  like  the  ordinary 
work  of  a painter,  to  afford  the  refreshment  of  a recreation.  So 
long  as  human  nature  remains  what  it  is,  people  will  not  highly 
value  a work  of  art  which  others  can  easily  procure,  so  that 
the  more  public  the  benefit  which  an  artist  bestows  upon  his 
countrymen,  the  less  will  be  his  reward.  If  ever  a true 
appreciation  of  art  shall  become  general  amongst  our  des- 
cendants, they  will  wonder  how  it  was  possible  that  Samuel 
Palmer,  to  whom  was  given  genius  and  length  of  days,  and  who 
in  his  time,  as  they  will  see,  was  one  of  the  most  accomplished 
etchers  who  ever  lived,  should  have  left  behind  him  just  half- 
a-dozen  plates.  We  can  tell  them  how  it  happened,  how  one 
who  had  mastered  the  art  and  loved  it,  neglected  it  year  after 
year,  simply  because  his  contemporaries  did  not  value  beauty 
when  it  could  be  multiplied. 

The  work  of  this  master  in  etching  has  been  more  than 
once  compared  to  mezzotint  engraving.  I said  in  the  first 
edition  of  The  Etcher's  Handbook  that  “ the  delightfulness  of 


326 


SAMUEL  PALMER . 


it  might  be  preserved  in  mezzotint,”  and  a critic  in  one  of  the 
leading  reviews  said  “ Samuel  Palmer  is  in  fact  a mezzotinter.” 
Such  expressions  as  these  are  due  to  what  is  at  first  sight  most 
obvious  in  this  master’s  way  of  etching,  the  richness  of  its  light 
and  shade.  Constable  said  that  one  reason  why  chiaroscuro 
was  of  such  great  importance  was  because  it  first  struck  the 
spectator.  Now  the  light  and  shade  of  Palmer’s  etchings 
might,  indeed,  be  copied  very  accurately  in  mezzotint,  and  a 
good  mezzotint  engraver  would  come  nearer  than  any  other 
engraver  to  the  general  aspect  and  quality  of  the  plates,  but 
a fuller  study  of  the  originals,  and  a sounder  knowledge  of  the 
resources  of  different  arts,  will  prove  that  Samuel  Palmer  is 
not  simply  a mezzotinter,  not  simply  an  imitator  of  mezzotint 
in  etching.  The  principle  of  his  work  is  much  wider  than 
that.  It  may  be  expressed  in  a single  word  — eclecticism. 
Etching  is  so  versatile  that  you  may  imitate  several  different 
arts  by  means  of  it,  and,  therefore,  an  artist  skilful  to  avail 
himself  of  this  versatility  may  select  the  qualities  which  in 
other  arts  seem  to  him  most  desirable,  and  combine  them  har- 
moniously in  one  work.  This  is  the  true  explanation  of  Palmer’s 
method.  He  is  an  eclectic,  an  artist  who,  although  using 
etching  as  his  means  of  expression,  remembers  all  along  the 
powers  and  qualities  of  other  graphic  arts,  and  adopts  them 
when  he  chooses,  incorporating  them  into  his  own  work,  but 
so  ably  that  its  unity  does  not  suffer.  It  is  quite  fair  to  say 
that  he  has  adopted  the  qualities  of  mezzotint  so  far  as  they 
are  to  be  got  by  work  that  is  bitten  and  not  raised  in  a bur, 
but  it  is  not  fair  to  imply  that  he  limits  himself  to  these 
qualities.  In  the  very  same  plate,  which  strikes  you  by  its 
resemblance  to  a mezzotint,  you  will  find,  if  you  look  into  it 
more  closely,  that  there  is  an  abundance  of  well  selected  line- 
work,  not  less  masterly  in  choice,  and  right  in  expression  than 
that  of  Turner  and  Haden,  though  quite  original,  and  conse- 
quently different  from  theirs.  And  besides  this  line-work,  if 
you  look  more  closely  still,  you  will  discover  passages  which 


SAMUEL  PALMER . 


327 


have  the  peculiar  qualities  of  woodcut,  I mean  of  such  wood- 
cutting as  is  done  upon  its  own  principle,  and  is  not  an 
imitation  of  something  else  ; in  other  words,  you  will  discover 
passages  where  neither  the  organic  line  nor  yet  the  soft 
mezzotint-like  shade  is  the  important  thing,  but  where  sparkling 
touches  of  white,  in  the  midst  of  intense  black,  are  the  true 
means  of  expression.  Besides  these,  it  is  easy  to  find  spaces 
in  the  more  important  plates  which  are  treated  with  as  near 
an  approach  to  line-engraving  as  would  be  compatible  with 
the  harmony  of  the  whole — a harmony  which  is  never  forgotten, 
and  never  marred. 

Now  if  I want  a comparison  to  illustrate  the  eclectic 
character  of  such  etching  as  this,  I have  one  close  at  hand  in 
the  language  which  I am  using,  the  English  tongue,  which  is 
the  most  eclectic  of  all  languages.  The  spirit  of  it  is  to  choose 
everywhere  the  means  of  expression  which  seem  most  con- 
venient for  the  moment,  and  it  does  this  apparently  with  little 
regard  to  harmony,  yet  with  a result  which  is  perfectly  har- 
monious. He  who  has  the  privilege  of  writing  this  rich  and 
various  language  maybe  truly  said  to  borrow  his  means  of  ex- 
pression from  Anglo-Saxon,  from  old  French,  from  Latin  and 
Greek  abundantly,  yet  he  is  not  writing  these  languages,  nor 
any  one  of  them  ; he  is  writing  English.  Just  so  the  language 
which  Samuel  Palmer  uses  in  etching  is  neither  mezzotint, 
nor  woodcut,  nor  line-etching,  but  a pure  original  language  of 
his  own,  which  I cannot  call  by  any  name  but  his. 

As  for  the  thoughts  which  he  has  to  express,  they  are 
pure  poetry,  and  come  to  him  from  that  rich  realm  of  the 
imagination  which  the  poets  only  can  find  at  all,  and  which 
they  find  everywhere.  There  is  more  feeling,  and  insight, 
and  knowledge,  in  one  twig  drawn  by  his  hand,  than  in  the 
life’s  production  of  many  a well-known  artist.  Words  cannot 
express  the  qualities  of  such  work  as  his,  but  we  can  say  that 
it  unites  the  ripest  and  fullest  knowledge  with  the  most  per- 
fect temper,  a temper  of  patience  almost  without  limit,  and  of 


32B 


SAMUEL  PALMER. 


tenderness  which  is  alive  to  all  loveliness,  even  that  which 
is  most  lowly  and  obscure,  hardening  itself  against  nothing 
that  is  beautiful.  Rarely  has  an  artist’s  maturity  been  so  com- 
plete. The  work  of  his  old  age  is  like  a great  fine  fruit  which 
has  been  in  the  sun  for  many  days,  until  all  its  juices  have 
had  just  the  full  time  and  heat  needed  for  the  most  perfect 
mellowness,  yet  on  which  you  shall  not  find  the  slightest  sign 
that  it  has  hung  on  the  branch  too  long.  No  young  man 
ever  had  the  fulness  of  knowledge  which  is  necessary  for  such 
work  as  that,  and  few  old  men  have  had  the  serenity  of 
temper,  or  the  powers  of  work,  which  are  needed  for  such  a 
complete  expression  of  their  knowledge. 

“ During  twenty  years,”  I wrote  in  1872,  “ Samuel  Palmer’s 
work  has  become  for  me  more  and  more  beautiful,  more  and 
more  abundantly  satisfying.  It  is  so  tender  as  to  remind  us  of 
all  that  is  softest  and  sweetest  in  the  heart  of  pastoral  nature, 
and  yet  so  learned  that  it  seems  as  if  some  angel  had  met  the 
artist  in  his  studious  solitude,  and  taught  him.  Imaginations 
graceful  as  a maiden’s  dream,  but  without  her  ignorance, 
teachings  profounder  than  those  of  science,  yet  without  her 
pedantry,  a serene  spirit  inherited  from  the  true  and  great 
poets  of  the  times  of  old  who  are  his  fathers — all  these  he 
gives  us  with  his  art.” 

His  aim  as  an  executant  is  not  consciously'distinct  from 
passing  thought  and  feeling,  it  is  not  thought  of  by  the  artist  as 
a purpose  in  itself.  Here  let  me  pause  to  consider  one  danger 
concerning  execution  in  the  fine  arts  which  I have  not  hitherto 
dwelt  upon,  but  which  is  serious  enough  to  merit  grave  con- 
sideration. A practised  executant  acquires  a fatal  facility,  so 
that  at  last  he  can  execute  without  having  either  new  thoughts 
or  new  emotions.  He  has  certain  forms  in  the  memory 
like  a printed  schedule,  and  he  fills  them  up  mechanically, 
without  waiting  till  he  has  ideas  to  put  under  the  several 
headings.  Nothing  can  be  more  convenient  to  the  handi- 
craftsman than  this  power  of  working  without  thinking,  but 


SAMUEL  PALMER, 


329 


nothing  is  more  dangerous  to  the  artist.  It  hurries  him  along 
whether  he  is  ready  or  not,  till  his  soul  becomes  a mere  victim 
tied  to  the  tail  of  the  executive  habit  which  gallops  away  like 
a wild  horse,  the  bit  between  its  teeth.  As  one  art  illustrates 
another,  and  the  fine  arts  are  all  subject  to  the  same  laws,  I 
may  take  the  case  of  an  orator  whose  tongue  goes  as  fast  as 
it  can  whether  the  ideas  are  in  time  for  it  or  not.  The  best 
public  speaker  I ever  heard  avoided  this  error  completely. 
He  spoke  slowly  when  the  thoughts  followed  slowly,  and  had 
the  courage  to  remain  quite  silent  from  time  to  time  when  the 
thought  was  not  ready  for  expression.  It  is  far  more  trying 
for  an  orator  to  do  this  in  the  presence  of  a thousand  hearers, 
than  for  an  etcher  in  the  solitude  of  his  own  room,  and  yet 
graphic  artists  have  rarely  authority  enough  over  the  hand  to 
make  it  follow  the  mind  instead  of  leading  it.  Samuel  Palmer 
said  of  Claude,  “his  execution  is  of  that  highest  kind  which 
has  no  independent  essence,  but  lingers  and  hesitates  with  the 
thought,  and  is  lost  and  found  in  a bewilderment  of  intricate 
beauty.”  In  this  sentence  we  have  the  key  to  the  writer’s 
own  ways  of  work  as  an  etcher : he  dislikes  execution,  however 
brilliant,  which  is  not  subordinate  to  the  thought ; or  perhaps, 
to  put  it  more  accurately,  the  best  execution,  in  his  view,  is 
tentative,  and  submissively  waits  whilst  the  mind  seeks,  always 
humbly  following  and  endeavouring  to  obey,  never  hurrying 
the  executive  processes  till  they  get  ahead  of  the  perceptive 
and  inventive  processes.  And  I venture  to  add  that  the 
beautiful  sentence  in  which  Samuel  Palmer  described  the 
excellence  of  Claude  is  accurately  descriptive  of  his  own  ex- 
cellence, and  I would  have  said  of  Samuel  Palmer,  if  I had 
known  how  to  write  anything  so  good,  just  these  words,  “his 
execution  is  of  that  highest  kind  which  has  no  independent 
essence,  but  lingers  and  hesitates  with  the  thought,  and  is  lost 
and  found  in  a bewilderment  of  intricate  beauty.” 

The  Early  Ploughman. — This  etching  was  first  published 


33° 


SAMUEL  PALMER. 


in  the  first  edition  of  the  present  work  under  the  above  title, 
but  on  more  recent  impressions  I perceive  that  Mr.  Palmer 
has  added  the  inscription, 

“ The  morning  spread  upon  the  mountains.” 

I always  greatly  admired  this  plate,  but  the  full  beauty  of 
it  was  unsuspected  until  Mr.  Palmer  set  up  a printing-press  in 
his  own  house,  and  his  son  began  to  take  proofs  under  the 
artist’s  direction.  The  earliest  proof  of  this  plate  in  my  posses- 
sion is  of  a state  preceding  the  final  one,  and  is  touched  upon  by 
the  etcher  to  mark  intended  alterations,  especially  in  the  pop- 
lars, the  biting,  however,  is  definitive  everywhere,*  and  yet  the 
work  looks  comparatively  grey  and  pale,  owing  to  unscientific 
printing.  The  impressions  in  the  first  edition  of  Etching  a7id 
Etchers  are  better,  but  are  still  far  from  doing  full  justice  to  the 
plate.  In  November  and  December  1873,  Mr.  Palmer  having 
then  established  his  private  press,  his  son  kindly  took  two  proofs 
for  me,  which  for  the  first  time  made  me  fully  acquainted  with 
the  merits  not  only  of  this  particular  work,  but  of  its  author’s 
method  of  etching.  The  use  of  vigorous  line-work  in  the 
poplars  and  elder  to  the  right  may  not  be  so  obvious  as  it  is 
in  Turner’s  etchings,  which  were  shaded  in  mezzotint,  but  the 
principle  of  it  is  the  same,  and  the  lines  themselves  are  nearly 
as  vigorous  as  those  of  Turner.  The  execution  in  this  part  of 
the  work,  indeed  in  most  of  the  etching  before  us,  is  founded 
upon  the  strong  etched  line  for  organic  markings,  whilst  a 
delicate  close  shading  at  a later  stage  of  the  process  does  for 
it  what  the  mezzotint  did  for  Turner’s  etchings,  or  in  other 
words  gives  it  shade  and  mass.  The  reader  is  requested  to 
guard  himself  against  the  almost  universal  confusion  between 
line  and  outline.  He  will  find  most  vigorous  line-work  in 
Palmer’s  etchings,  yet  hardly  such  a thing  as  an  outline  any- 

* The  reader  acquainted  with  technical  matters  will  learn  -with  some  surprise 
that  Mr.  Palmer  has  never  once  had  recourse  to  rebiting.  This  only  shows  the 
remarkable  skill  with  which  he  manages  the  acid — a skill  the  more  remarkable 
that  he  has  etched  so  few  plates. 


SAMUEL  PALMER. 


33i 


where.  The  losing  and  finding  of  beautiful  detail  amidst  the 
mysterious  confusion  of  nature  would  indeed  be  altogether  in- 
compatible with  outlines,  which  define  things  like  countries  on 
a map.  The  ploughman  here,  and  his  team  of  oxen,  are  most 
perfect  examples  of  Palmer’s  manner  of  using  line  and  shade. 
There  is  a good  deal  of  line,  some  of  it  deeply  bitten,  yet  you 
can  hardly  catch  an  outline,  unless  by  accident  as  it  seems,  and 
then  it  eludes  you.  The  man  and  animals  are  softly  lighted 
by  the  dawn,  and  they  are  visible  in  the  dim  light  with  just 
as  much  definition  as  they  would  have  in  a good  painting, 
and  no  more.  Palmer’s  treatment  of  objects  in  the  foreground 
is  opposed  to  Lalanne’s  doctrine,  that  foregrounds  should  be 
etched  in  strong  and  open  lines,  for  he  sees  that  in  nature 
foregrounds  are  not  less  delicate  than  distances.  In  this  plate, 
the  shading  upon  the  man’s  shirt,  and  on  the  face  of  the  light- 
coloured  ox,  is  indeed  closer  and  finer  in  texture  than  that  on 
the  distant  mountain. 

The  sky  is  etched  very  much  upon  the  principle  of  line- 
engraving.  It  has  two  distinct  textures,  one  over  the  other,  to 
give  transparence  and  depth,  a close  texture  in  pale  lines,  and 
a much  more  open  texture  in  darker  lines.  There  is  much  en- 
graver-like skill  (of  a right  kind)  in  the  management  of  these 
lines  for  shading.  They  run  in  varied  curves,  and  always  at 
a safe  distance  from  each  other,  so  that  there  is  no  uninten- 
tional doubling.  Nothing  can  be  more  judicious  than  the 
direction  given  to  these  undulating  lines  of  shade. 

All  this  technical  commentary  has  left  me  little  room  to 
speak  of  the  artistic  beauty  of  the  conception,  but  the  reader 
is  not  to  suppose  that  technical  criticism  deadens  the  feejings 
which  apprehend  the  true  poetry  and  significance  of  art.  On 
the  contrary,  it  is  impossible  to  appreciate  the  full  technical 
merit  of  such  work  as  this  without  at  the  same  time  knowing 
what  the  lines  mean,  and  sharing  the  sweetness  of  the 
ineffable  sentiment  which  they  are  intended  to  convey.  It  is 
the  sentiment  of  a poet  and  a painter,  who  loves  the  loveliest 


332 


SAMUEL  PALMER. 


hours,  and  has  watched  them  all  his  life.  No  sudden  delight 
in  the  unaccustomed  spectacle  of  a sunrise  ever  yet  gave  the 
town-bred  artist  such  knowledge  of  the  dawn-mystery  as  this. 
Many  a night  has  the  etcher  of  this  plate  wandered  in  a land 
of  beauty  from  sunset  to  sunrise,  from  twilight  to  twilight, 
from  the  splendour  of  the  west  to  the  splendour  of  the  east, 
watching  through  the  gradual  changes  of  the  hours,  and  gather- 
ing for  us  that  rare  learning  of  which  his  works  are  full. 

The  Herdsman. — This  plate  was  published  in  the  Selection 
of  Etchings  by  the  Etching  Club , 1865.  The  subject  is  a 
moonrise  in  a hilly  country.  To  the  left  is  a magnificent  tree 
(chestnut,  I think)  in  full  foliage,  and  under  it  the  herdsman  is 
driving  his  cattle  towards  the  farm  which  lies  in  the  dark 
hollow,  and  is  made  visible  only  by  the  moonlight  which 
catches  the  edges  of  the  roofs  and  gables,  and  the  smoke  from 
the  chimneys.  In  the  right  foreground  is  the  broken  trunk 
of  a tree,  which  also  catches  the  moonlight,  and  there  is  a 
great  sparkle  and  glitter  of  it  upon  the  leaves  in  this  part  of 
the  etching.  The  hill  is  extremely  dark,  and  above  it  the  sky 
is  covered  with  a voluminous  cloud. 

The  sky  in  this  magnificent  plate  is  etched  upon  the  same 
principles  as  that  in  the  Early  Ploughman  ; the  treatment,  too, 
of  the  figure  and  animals  is  like  that  of  the  ploughman  and 
his  oxen,  but  the  rest  of  the  etching  is  done  very  much  upon 
the  principles  of  woodcut,  I mean  that  the  artist,  although  he 
has  been  working  in  black,  thought  rather  of  the  white  spaces 
or  specks  which  he  reserved  in  the  midst  of  it  than  of  the 
black  itself.  In  the  large  chestnut  the  etched  line  is  still 
visible  as  a means  of  defining  foliage,  but  the  leaves  and 
trunk  under  the  moon  are  all  picked  out  of  an  intensely  black 
ground  in  touches  of  white.  It  is  wonderful  how  minute  are 
many  of  the  atoms  of  white  which  have  a most  important 
influence  upon  the  effect.  Those  in  the  dark  hill  are  most  of 
them  scarcely  bigger  than  a pin’s  point,  and  yet  they  prevent 
the  darkness  from  being  black , whilst  at  the  same  time  they 


SAMUEL  PALMER. 


333 


give  obscure  indications  of  form,  which  make  the  hill  really  a 
hill,  and  not  a mere  flat  piece  of  black  paper.  The  massive 
tree  to  the  left  is  one  of  the  finest  studies  of  foliage  ever 
etched.  Every  cluster  of  leaves  has  been  carefully  thought 
out  for  itself,  whilst  the  grandeur  of  the  masses  has  been  pre- 
served as  completely  as  it  could  have  been  in  the  most 
energetic  sketch.  The  little  gleams  of  light  along  the  edges 
of  the  roofs  reveal  the  various  curves  caused  by  the  yielding  or 
irregularity  of  the  timbers,  and  even  in  such  a minor  detail 
as  the  goad  on  the  herdsman’s  shoulder  the  utmost  care  is 
taken  to  indicate  its  departure  from  mechanical  straightness. 
I could  not  mention  a better  example  of  pervading  artistic 
intelligence,  which  whilst  never  forgetting,  even  for  an  instant, 
the  unity  of  the  whole  work,  applies  itself  nevertheless  with 
unfailing  and  unflagging  attention  to  every  detail,  how- 
ever apparently  insignificant.  It  is  scarcely  too  much  to 
say  that  there  is  not  in  this  etching  an  atom  of  white  or  black 
—I  will  not  say  the  size  of  a pin’s  head,  but  rather  of  its 
point — -which  is  not  there  in  obedience  to  a distinct  artistic 
decision. 

The  Rising  Moon . — This  plate  was  published  in  1857  in  a 
little  set  issued  by  the  Art  Union  of  London.  The  moon 
has  nearly  but  not  quite  disengaged  herself  from  behind  the 
shoulder  of  a hill,  and  she  lights  a flock  of  sheep  in  the  fore- 
ground. The  scenery  is  of  the  same  order  as  that  of  the  pre- 
ceding subject.  It  is  amongst  the  low  hills  of  the  south  of 
England,  and  we  are  looking  down  into  a hollow,  in  which 
nestles  a large  gabled  mansion.  A church  tower  is  dimly 
visible  against  a dark  hill,  a few  poplars  rise  out  of  the  hollow 
against  the  sky,  and  a tree  in  the  foreground  catches  the 
moonlight  in  its  leaves.  To  the  right  is  a vast  plain  with  a 
level  horizon,  responded  to  by  level  lines  of  white  cloud  in 
the  elaborate  sky. 

This  plate  has  the  technical  qualities  of  the  “ Herdsman,” 
but  not  in  so  striking  a degree.  The  subject  is  very  beautiful, 


334 


SAMUEL  PALMER. 


with  an  aspect  of  more  perfect  repose  and  serenity  than  the 
other  etching.  Notwithstanding  the  rather  coarse  texture  of 
the  sky,  it  fulfils  its  purpose  admirably,  proving  what  a 
peculiar  thing  interpretation  is  in  art,  and  how  opposed  to 
imitation.  No  natural  sky  ever  showed  texture  of  this  kind, 
with  its  strong  markings  of  black  lines  and  dots,  and  yet  this 
texture  perfectly  conveys  to  us  the  character  of  sky  intended. 
The  whole  plate  is  interesting  as  a study  of  texture,  observe 
especially  the  soft  wool  of  the  sheep  with  the  moonlight  on 
it  and  in  it.  The  figure  of  the  rustic  in  his  smock  is  beauti- 
fully indicated  by  touches  of  white. 

It  seldom  happens  that  Samuel  Palmer  does  anything 
which  can  be  found  fault  with  from  the  artistic  point  of  view, 
his  arrangements  of  material  being  generally  not  only  quite 
above  censure,  but  marked  by  a happy  originality  of  artistic 
thought  and  invention.  In  the  present  instance,  however,  he 
has  fallen  into  the  well-known  error  which  is  commonly  called 
exaggerated  perspective — commonly  but  not  quite  accurately, 
as  the  perspective  itself  may  be  free  from  exaggeration, 
scientifically  true,  and  yet  sure  to  give  a false  impression.  It 
would  be  out  of  place  to  enter  fully  into  this  subject  here,  for 
the  few  who  understand  it  need  no  explanation,  and  the  many 
who  do  not  would  require  a complete  essay  on  the  subject, 
illustrated,  which  they  would  never  take  the  trouble  to  master, 
so  I will  say  simply  that  the  sheep  here  are  not  in  false  per- 
spective, but  in  very  injudicious  perspective.  They  look 
monstrously  big,  and  the  rustic  who  is  coming  home  does  not 
look  distant,  he  seems  like  a pigmy.  The  landscape  is  far 
too  beautiful  and  too  interesting  to  be  a mere  background  to 
the  sheep,  and  the  sheep  are  too  important  to  be  nothing  but 
adjuncts  to  the  landscape.  Besides  this  there  is  not  drawing 
enough  in  the  sheep  for  that  scale.  They  ought  to  have  been 
drawn  as  Rosa  Bonheur  draws,  and  not  mere  bales  of  flesh, 
wrapped  up  in  wool,  with  a head  at  one  end  or  the  other. 

The  Morning  of  Life. — This  plate  has  also  been  called 


SAMUEL  PALMER. 


335 


“Work  and  Gossip.”  It  is  an  effect  of  sunlight  flaming 
through  branches  of  strong  old  trees,  with  their  roots  in  a 
narrow  rivulet.  In  the  rivulet  some  boys  are  washing  sheep, 
two  others  are  dragging  and  pushing  a ram  to  the  water.  A 
girl  on  her  hands  and  knees  is  gossiping  with  a youth.  She 
has  been  gathering  fruit,  and  has  a basket  close  to  her,  whilst 
apples  are  scattered  on  the  ground. 

If  classical  education,  in  literature  and  art,  never  had  a 
worse  effect  upon  modern  performance  than  it  has  here,  we 
should  not  have  a word  to  say  against  it.  There  is  something 
of  Virgil’s  spirit  here,  something  of  Claude’s,  and  I know  not 
what  other  beautiful  associations  with,  or  reminiscences  of, 
many  another  poet  of  the  past  who  may  have  learned  the 
deep  sylvan  secrets,  and  known  the  joy  and  beauty  of  young 
life  under  the  greenwood  tree.  No  doubt  the  love  of  nature 
is  evident  enough  in  this  plate,  but  at  least  equally  evident  is 
the  delight  in  noble  art  and  the  far-reaching  memory  of  it,  in 
sweet  sympathy  with  what  the  immortal  poets  have  sung  or 
painted  when  they  too  were  alive  upon  the  earth,  and  knew 
the  glory  and  freshness  of  the  morning.  Hence  this  etching 
is  equally  removed  from  the  vulgarity  of  the  realism  which 
has  no  associations,  no  memories,  no  melodies  of  old  music  in 
the  brain,  and  from  the  dulness  of  blind  tradition,  which  can 
only  repeat  what  others  have  done  without  any  insight,  or 
sentiment,  or  invention  of  its  own. 

A more  magnificent  piece  of  design  in  trunks  and  foliage 
was  never  etched.  The  use  of  line  here  is  very  original  and 
extremely  powerful.  The  originality  of  it  consists  in  the 
peculiar  and  unforeseen  way  in  which  the  lines  begin  and 
end,  and  in  the  apparently  wayward  yet  profoundly  intelligent 
placing  of  the  lines.  They  are  not  outlines,  unless  here  and 
there  by  accident ; they  are  simply  markings  put  wherever 
they  would  be  most  useful  ultimately,  and  it  is  a very  interest- 
ing and  profitable  critical  exercise  to  observe  the  curious 
cunning  with  which  this  is  always  done.  Another  peculiarity 


SAMUEL  PALMER. 


33<> 

about  them  deserves  to  be  noticed.  It  is  one  of  the  few 
defects  of  etching  that  the  needle  cannot  enlarge  and  diminish 
the  line  in  the  same  stroke  as  the  brush  can,  or  even  the  pen  ; 
but  here  this  defect  is  apparently  overcome,  and  there  is  an 
increase  of  thickness  in  the  lines,  which  often  begin  with  a 
fine  hair-stroke  and  become  broad  in  the  middle,  ending  again 
almost  imperceptibly/''*  These  organic  lines,  strongly  bitten, 
are  the  skeleton  of  the  subject,  and  over  them  is  cast  a veil  of 
shade,  not  deeply  bitten,  and  with  very  little  texture  in  it,  as 
soft  in  quality  as  the  shade  in  a charcoal  drawing. 

So  much  for  the  means  employed.  The  knowledge  of 
effect  is  of  course  consummate ; it  is  proved  more  especially 
by  the  way  in  which  the  blaze  of  sunlight  fuses  and  burns 
away,  as  it  were,  the  branches  and  leaves  which  come  between 
us  and  the  orb,  carrying  away  even  the  solid  edge  of  a strong 
bough.  Yet  there  is  no  exaggeration  of  light  in  the  fore- 
ground, for  there  is  really  a screen  of  branches  between  it  and 
the  sun,  admitting  only  a filtered  light.  As  for  the  figures  it 
is  impossible  to  introduce  figures  more  beautifully  in  land- 
scape. They  are  drawn  with  the  most  exquisite  taste,  and 
with  all  the  knowledge  that  is  needed,  whilst  for  combined 
energy  and  grace  of  attitude  they  remind  us  rather  of  Stothard 
or  Flaxman  than  of  any  inferior  men,  though  neither  of  these 
great  artists  could  have  set  figures  in  landscape  as  these  are 
set. 

The  Ftill  Moon.  (From  Bampfylde’s  “Christmas.”) — A 
rustic  is  bringing  his  sheep  into  the  fold  close  to  a thatched 
cottage.  Children  are  coming  to  welcome  him,  and  a little 
girl  is  petting  the  dog.  The  door  of  the  cottage  is  open,  and 
we  see  the  plate-rack  inside,  and  the  housewife  preparing  the 
table  for  supper.  High  in  the  sky  is  the  full  moon,  over  the 
tops  of  the  trees. 

There  is  some  particularly  thorough  branch-drawing  here 
in  the  near  tree  to  the  left.  The  figures  are  very  beautifully 

* This  is  probably  managed  by  repeated  touches  with  a fine  point 


SAMUEL  PALMER. 


337 


conceived,  in  movements  at  once  most  natural  and  most 
graceful.  As  for  the  tonality  of  the  plate,  it  is  so  perfect  as 
to  produce,  after  looking  at  it  for  a little  time,  almost  the 
effect  of  illusion.  It  is  one  of  the  most  thorough  pieces 
of  etched  chiaroscuro  in  existence,  the  notes  of  light  and 
dark  being  all  faultlessly  in  tune,  like  the  notes  of  a well- 
played  melody. 

Sunrise.  (Published  in  the  Portfolio  for  November  1872.) 
— Another  very  perfect  little  plate,  having  on  a much  smaller 
scale  many  of  the  qualities  which  we  have  already  noticed  in 
“ The  Morning  of  Life  ” The  sun  is  rising  between  the  gable 
of  a farm-house  and  the  trunks  of  trees  in  a wood.  A herds- 
man with  his  dog  is  driving  two  cows  across  the  foreground. 
In  the  left-hand  corner  a tiny  cascade  of  water  is  falling  from 
the  rock  into  a little  pool.  The  trunks  of  the  trees  cast 
shadows,  and  the  ground  is  brilliantly  illuminated  by  the 
early  light. 

It  is  unnecessary  to  enter  into  any  detailed  description  of 
this  plate  after  the  criticism  of  the  larger  one  in  which  the 
same  effect  is  rendered.  In  its  own  way  it  is  like  some  pearl 
or  diamond  without  a flaw,  but  pearls  and  diamonds  are  very 
common  things  upon  the  earth  in  comparison  with  etchings 
of  this  quality. 

Come , thou  Monarch  of  the  Vine  ! — In  the  “Songs  of 
Shakespeare,”  illustrated  by  the  Etching  Club,  the  most  per- 
fect work  which  the  club  ever  produced,  Samuel  Palmer  had 
two  compositions,  the  larger  one  representing  the  arrival  of 
Bacchus  amongst  his  worshippers  in  a wood  where  the  vine 
grows  luxuriantly  amongst  the  trees,  and  the  other  represent- 
ing four  plump,  naked  children  gathering  grapes  from  a vine 
which  creeps  round  a massive  bole,  and  hangs  from  mighty 
boughs.  In  these  two  subjects  the  figures  are  of  much  more 
apparent  importance  than  in  the  others  which  we  have  been 
considering,  in  fact  these  are  strictly  figure-compositions. 
The  larger  one  is  full  of  power  and  vivacity.  Bacchus  comes 

2 


338 


SAMUEL  PALMER. 


in  a blaze  of  light,  truly  divine,  and  his  worshippers  receive 
him  with  aves  of  extravagant  ecstasy.  The  figure-drawing  is 
at  once  energetic  and  voluptuous,  the  action  and  composition 
artistic  in  the  extreme,  quite  in  the  temper  of  the  great 
masters.  The  whole  scene  is  full  of  light,  and  life,  and  joy, 
enough  to  make  would-be  revelling  pagans  of  us  all,  eager  to 
be  drunk  with  new  wine  in  some  warm  southern  bower,  and 
there  sing 

Come,  thou  monarch  of  the  vine  ! 

Plumpy  Bacchus  with  pink  eyne  ; 

In  thy  vats  our  cares  be  drown’d, 

With  thy  grapes  our  hairs  be  crown’d. 

Cup  us  till  the  world  go  round  ; 

Cup  us  till  the  world  go  round ! 


CHAPTER  IX, 


MILLAIS. 

T'HE  pre-Raphaelite  discipline,  which  was  a protest  against 
inadequate  synthesis,  and  a temporary  return  to 
analysis,  was  highly  unfavourable  to  etching  so  long  as  it 
lasted,  but  in  the  well-known  career  of  Millais  there  came  a 
period  of  emancipation  from  excessive  analysis,  and  this 
would  have  been  the  time  for  him  to  etch.  He  did  so  a 
little,  but  most  of  his  talent  as  a sketcher  in  black  and  white 
has  been  spent  in  drawing  upon  wood.  Very  many  of  his 
drawings  on  wood  have  all  the  qualities  of  good  etchings 
which  the  difference  of  the  two  processes  will  permit. 
His  manner  of  sketching  is  an  excellent  manner  for  an  etcher. 
It  is  delicate  without  over-minuteness,  and  it  is  rapid  and  free 
without  neglecting  anything  essential.  Some  of  the  best 
sketches  by  Millais  are  the  little  vignettes  which  accompany 
the  initial  letters  in  “The  Small  House  at  Allington,”  such 
for  example,  as  the  sketch  of  the  large  house  with  the  squire 
walking  on  the  terrace  (chap,  xxxvii.).  It  may  seem  to  care- 
less observers  a very  easy  thing  to  do  such  a sketch  as  that, 
and  no  doubt  it  was  done  easily,  but  only  a consummate 
artist  could  have  drawn  it  just  in  that  happy  way.  The 
croquis  of  the  London  houses,  in  one  of  which  Crosbie  and 
Lady  Alexandrina  spent  that  delightful  married  life  of  theirs, 
is  also  quite  in  the  temper  of  etching;  indeed  such  a subject 
as  that  would  not  be  endurable  in  art  if  treated  with  any 
nearer  approach  to  imitation.  But  it  is  unnecessary  to  men- 
tion instances,  for  nearly  all  the  drawings  on  wood  which 


34o 


MILLAIS. 


Millais  has  produced  since  he  abandoned  pre-Raphaelitism 
have  been  little  else  than  etchings  in  spirit,  though  they  are 
technically  woodcuts  because  they  have  been  engraved  by 
the  woodcutter. 

There  is,  however,  a very  wide  difference  in  delicacy 
between  these  woodcuts  and  the  original  etched  work  of 
Millais,  a difference  quite  enough  to  make  us  deplore  that 
condition  of  the  public  taste  which  renders  it  an  imprudence 
for  him  to  etch  his  own  designs,  when  the  finest  line  of  the 
needle  would  be  safe  for  ever,  and  yet  not  an  imprudence, 
even  for  so  successful  a painter,  to  draw  upon  wood  when 
every  line  is  imperilled  by  the  burin  of  the  engraver  after- 
wards. I have  already  gone  into  the  commercial  reasons 
which  account  for  this.  The  picture  is  profitable  because  it 
is  unique,  the  woodcut  is  profitable  because  it  shares  in  the 
large  sale  commanded  by  a popular  novelist;  but  the  etching  is 
neither  unique  on  the  one  hand,  nor  popular  on  the  other. 
Yet  it  is  a great  loss  to  the  fine  arts  when  such  a draughts- 
man as  Millais  has  to  entrust  his  designs  to  the  wood- 
engraver  instead  of  etching  them  himself.  He  has  all  the 
gifts  of  the  etcher,  and  if  this  earth  were  a world  in  which  all 
good  gifts  were  valued  at  their  worth,  Millais  would  by  this 
time  have  entrusted  many  noble  designs  to  the  faithful  keep- 
ing of  steeled  copper. 

The  Young  Mother. — This  is  the  twenty-ninth  plate  in  the 
etchings  published  for  the  Art  Union  of  London  in  1857.  It 
is  the  best  etching  by  Millais  that  I have  seen.  The  figure 
of  the  young  woman  is  very  beautifully  sketched,  as  she  bends 
over  her  infant  and  kisses  the  palm  of  its  tiny  hand.  The 
lines  which  indicate  the  folds  of  her  dress  are,  in  the  lights, 
very  free  and  true  ; but  in  the  shaded  parts  the  cross  hatching 
made  use  of  is  not  quite  so  purely  etcher’s  work.  The  High- 
land cottages  and  sketch  of  shore  in  the  distance  show  most 
intimate  knowledge  of  the  true  character  of  Highland  scenery, 
and  much  affection  for  it. 


CHAPTER  X. 


COPE,  HORSLEY,  HOOK. 


‘^JJ’NTIL  the  plate  of  “The  Life  School,  Royal  Academy, 
was  exhibited  by  Mr.  Cope  in  1867,  the  position  he 
held  as  an  etcher  was  on  the  usual  level  of  our  Etching  Club, 
but  the  “ Life  School  ” revealed  more  power  and  originality. 
It  was  published  in  the  first  edition  of  this  volume. 

In  Mr.  Cope’s  earlier  manner  the  cleverest  thing  I 
remember  is  the  study  of  the  old  man  in  the  illustrations  to 
the  “Songs  of  Shakespeare”  (“Passionate  Pilgrim”).  That 
figure  was  remarkably  observant  and  truthful,  and  drawn 
with  unusual  precision.  There  are  several  etchings  by  the 
same  artist  of  much  inferior  merit. 

Mr.  Horsley  has  etched  a few  really  good  things  amongst 
others  not  so  good.  His  touch  is  often  free  and  right,  and 
his  still-life  is  usually  admirable.  When  he  spoils  a plate, 
which  he  has  done  occasionally,  it  is  from  over-work  in 
hatching. 


Mr.  Hook  has  done  one  magnificent  plate,  “The  Egg- 
gatherer,”  but  his  etching  aims  so  decidedly  at  full  tone  that 
when  the  relations  of  light  and  dark  come  wrong  in  the  biting 
the  work  is  lost  and  spoiled.  When  tone-etchers  succeed  it 
is  well,  their  work  looks  rich  and  full ; but  when  they  fail,  and 
they  often  do  so  from  mere  miscalculation  about  acid,  not 
from  ignorance,  the  failure  seems  complete.  Mr.  Hook  relies 
much  upon  texture  also,  and  little  upon  line,  and  the  quality 
of  his  work  is  always  painter-like.  The  smaller  illustration  of 
Shakespeare’s  song,  “ Who  is  Silvia  ? ” is  the  nearest  approach 


342 


COPE,  HORSLEY,  HOOK. 


to  line-etching  that  I know  of  his.  When  an  artist  has 
reached  such  decided  success  as  this  we  hardly  like  to  dis- 
courage him  by  suggestions  of  alteration  in  manner ; but  if 
Hobk  could  keep  his  full  and  rich  tonality,  whilst  adding  to 
it  some  liberty  and  emphasis  of  line,  and  some  bolder  use  of 
open  line  in  shading,  he  might  become  an  etcher  of  a higher 
order. 

COPE.  The  L He  School ’ Royal  Academy. — This  is  a true 
etching,  and  one  of  the  manliest  pieces  of  work  ever  executed 
in  England.  The  subject  is  a remarkably  good  one,  because 
it  composes  of  itself  so  naturally,  and  because  the  effect  of 
chiaroscuro  is  so  powerful.  Of  all  recent  attempts  to  render 
the  naked  figure  in  pure  etching,  the  model  here  is  one  of  the 
most  successful, — it  is  frank  and  genuine  etcher’s  work ; the 
reader  is  especially  invited  to  notice  the  way  in  which  the 
reflected  lights  are  reserved  on  the  muscles  of  the  back,  and 
the  firm  shading  over  them.  The  figures  of  the  students  are 
very  true  and  various  in  attitude.  Much  of  the  power  of  this 
etching  is  due  to  the  fearless  use  of  the  pure  etched  line, 
which  is  often  left  to  itself,  as  for  instance  on  the  floor  and 
screen,  and  when  crossed  by  hatchings,  as  in  the  curtain,  and 
dark  shade  above  the  reflectors,  never  interrupted  uselessly, 
but  for  the  simple  purpose  of  obtaining  necessary  darks. 

Winter  Song. — This  is  a fair  example  of  the  better  sort  of 
English  work.  It  is  not  yet  strong  etching,  because  there  is 
little  power  of  line,  but  the  shading  is  in  its  way  honest, 
though  it  would  have  gained  by  greater  simplicity  and  open- 
ness. Mr.  Cope  has  produced  other  etchings  of  this  class 
which  it  is  not  necessary  to  criticise  specially.  He  has 
carried  the  kind  of  execution  which  has  been  chiefly  aimed  at 
by  the  Etching  Club  as  far  as  any  of  its  members. 

HORSLEY.  The  Duennds  Return  (in  Mr.  Cundall’s  series). 
—A  duenna  is  coming  back  from  a walk,  and  finds  her  charge 


COPE,  HORSLEY,  HOOK. 


343 


talking  with  a young  gentleman  at  the  window.  This  is  a 
much  nearer  approach  to  true  etching  than  is  usual  in  this 
country.  There  is  considerable  freedom  of  hand,  and  the 
value  of  local  colour  as  light  and  dark  appears  to  be  fully 
appreciated.  The  passage  of  light  in  the  small  panes  above 
the  door  is  very  beautifully  given.  The  plate  is  signed  J.  C. 
Horsley,  1864,  and  is  decidedly  the  best  work  of  the  artist 
known  to  me. 

The  Deserted  Village  (plate  61). — The  lower  of  the  two 
etchings  on  this  plate,  representing  a spindle  with  an  arm- 
chair near  an  open  window,  is  one  of  the  most  brilliant  bits  of 
still  life  I know  in  modern  etching. 

Interior  of  a Weaver's  Cottage  (“  Deserted  Village,”  plate 
29). — The  artistic  motive  of  this  little  subject  is  intricacy, 
which,  illustrated  in  other  ways,  is  a favourite  motive  of 
Whistler’s.  There  is  a want  of  distinction  in  lights  and  darks 
under  the  loom  about  the  man’s  legs ; but,  with  that  draw- 
back, this  is  one  of  the  cleverest  little  etchings  in  the  volume. 

HOOK.  Gathering  Eggs  from  the  Cliff. — I believe  that 
etching  can  go  no  farther  than  this  in  the  imitation  of  the 
effects  produced  in  modern  painting.  This  plate  so  entirely 
expresses  Mr.  Hook’s  manner  on  canvas  that  it  is  not  an 
exaggeration  to  say  that  we  may  see  in  it  the  rich  copal 
glazes  and  the  skilful  dry  touching,  of  which,  as  a painter,  he 
is  such  an  accomplished  master.  This  is  less  an  etching  than 
a translation  of  oil  colour ; but,  in  its  own  way,  it  is  skilful 
beyond  praise.  The  scene  is  the  front  of  a rocky  cliff  and  a 
wide  expanse  of  sea  with  a high  horizon.  One  boy  is  letting 
down  another  by  a rope  from  a ledge  of  rock,  and  a sea-  gull 
is  flying  within  a yard  or  two  of  the  robber.  Other  sea-gulls 
are  flying  over  the  sea,  and  there  is  a line  of  white  cloud  on 
the  horizon.  The  local  colour  is  everywhere  so  full  that  even 
the  grey  on  the  near  gull’s  back  is  carefully  rendered,  and 
scarcely  a touch  of  pure  white  is  admitted  anywhere  except 


344 


COPE,  HORSLEY,  HOOK. 


in  the  distant  clouds,  and  in  the  foam  that  breaks  amongst 
the  rocks.  Both  cliff  and  sea  are,  I will  not  say  etched,  but 
painted  with  all  the  artist’s  habitual  wealth  of  colour,  and  it 
needs  but  little  imagination  to  supply  the  very  hues  themselves. 

The  Fisherman' s Good-night. — A fisherman  is  parting  from 
his  wife  and  child,  who  are  sitting  on  a high  sea-wall  to  which 
a strong  ladder  is  bound  firmly.  The  man  is  just  descending 
the  ladder,  and  his  right  leg  is  straight  whilst  his  left  knee 
rests  upon  the  wall.  The  conception  of  this  etching  is  almost 
as  painter-like  as  that  of  the  one  just  criticised,  but  it  is  not 
so  successful  in  execution  because  there  are  obvious  failures 
in  tonality.  The  two  legs  are  one  undistinguishable  blot ; 
and  the  side  of  the  ladder,  the  man’s  waistcoat,  and  the  clift 
behind  him,  are  all  as  nearly  as  possible  of  one  tone.  It  is 
quite  curious  how  certain  modern  English  etchers  dread  the 
frankness  of  a clear  line.  If  Rembrandt  had  had  to  etch  that 
ladder  and  that  pair  of  trousers,  he  would  have  shaded  them 
with  honest  open  strokes,  presenting,  it  is  true,  no  appearance 
of  paint,  but  far  more  explanatory  of  the  thing.  And  even 
when  a great  etcher  is  not  very  explanatory — as  will  some- 
times happen  when  the  nature  of  material  is  half  lost  in  un- 
distinguishable shade — he  will  throw  his  lines  across  it  with- 
out trying  to  soften  them  into  the  semblance  of  water-colour 
washes.  In  this  fisherman  and  ladder  ten  strokes  are  given 
where  two  were  necessary,  and  after  all  the  subject  is  so  little 
explained  that  you  cannot  distinguish  one  leg  from  the  other. 


CHAPTER  XI. 


CRESWICK,  REDGRAVE,  RIDLEY. 

RES  WICK  etched  very  prettily,  but  his  work  was  very 
distantly  related  to  the  greater  art  which  has  sometimes 
occupied  our  thoughts.  Creswick’s  workmanship  was  delicate 
and  refined  in  the  extreme,  and  his  oppositions  of  tone  were 
usually  just,  but  he  had  no  independent  and  original  interpre- 
tation. The  craft  that  he  had  learned,  and  he  had  learned  it, 
was  taught  him  by  the  engravers,  not  perhaps  in  direct 
personal  counsel,  but  by  an  influence  fully  received,  whether 
consciously  or  unconsciously.  If  he  had  a bit  of  pasture- 
ground  to  etch,  or  a piece  of  foliage,  you  are  sure  to  find  the 
very  touches  with  which  professional  engravers  are  accustomed 
to  do  these  things.  Some  of  Creswick’s  vignettes  are  good 
enough  as  engraver’s  work  to  be  inserted  in  very  carefully 
illustrated  books  ; one  or  two  of  them  might  be  published  in 
Rogers  without  giving  any  unpleasant  shock  to  eyes  just 
fresh  from  the  marvellous  handicraft  of  Goodall.  Considered 
in  this  independent  way,  without  reference  to  the  art  of  etch- 
ing as  it  was  understood  by  Rembrandt  and  the  great  etchers, 
the  work  of  Creswick  is  of  remarkable  excellence ; but  here, 
as  in  so  many  other  cases,  we  have  to  make  the  reservation, 
that,  however  pretty  and  delicate  it  may  be,  this  is  not  the 
kind  of  work  which  an  etcher  ought  to  aim  at  or  care  for.  It 
is  so  very  pretty,  that,  if  issued  separately  from  the  work 
of  other  men,  it  is  probable  that  it  would  even  be  popular ; 
but  its  popularity  would  do  no  good  to  the  work  of  stronger 
etchers.  The  fact  is,  that  etching  of  this  kind  is  already  quite 


340  CRES  WICK,  REE  GRAVE,  RIDLEY. 


popular  enough — there  is  much  of  it  in  modern  landscape- 
engraving ; and  although  the  public  rebels  against  powerful 
etching,  it  accepts  this  without  any  audible  complaint ; nay, 
it  does  not  even  know  that  such  work  is  etching  at  all,  so 
pleasant  is  it  to  look  upon,  but  rather  inclines  to  the  belief 
that  it  is  graven  work,  the  doing  of  which  is  a mystery. 

Mr.  Redgrave,  the  now  veteran  painter  and  writer  upon 
art,  has  also  been  a contributor  to  the  publications  of  the  Etch- 
ing Club.  The  temper  of  his  work  is  always  studious  and 
sincere,  and,  besides  these  qualities,  it  has  a certain  tender- 
ness of  sentiment,  but,  from  the  technical  point  of  view,  it  has 
been  injured  by  a striving  after  finish,  which  was  due,  in  part, 
to  the  habit  of  working  on  a small  scale.  In  1867  Mr.  Red- 
grave exhibited  a plate  at  the  Royal  Academy  which  proved 
that  his  earlier  habits  of  almost  painfully  minute  execution 
were  by  no  means  inveterate.  That  plate  was  somewhat  too 
violent  in  oppositions,  but  it  had  the  true  spirit  of  etching,  and 
was  not  spoiled,  as  some  of  the  earlier  ones  were,  by  too 
much  labour  and  too  little  selection. 

Mr.  Ridley  is  a rising  and  well-educated  painter,  born  in 
1 837,  who  has  etched  a few  plates,  chiefly  of  shipping  on 
tidal  rivers.  He  is  a very  genuine  etcher,  apparently  of  the 
school  of  Whistler,  but  in  those  plates  of  his  which  have  been 
published  up  to  the  present  time  I do  not  see  much  evidence 
of  veiy  keen  or  subtle  observation,  whilst  they  certainly  (being 
merely  studies)  exhibit  no  power  of  composition.  His  name 
is  mentioned  here  not  as  that  of  an  etcher  who  has  already 
produced  important  works,  but  as  an  example  of  soundness 
in  study.  There  can  be  little  doubt  that  if  the  art  were 
encouraged  amongst  us  Mr.  Ridley  would  soon  become  one 
of  its  leaders.  So  far  as  he  has  hitherto  gone  he  is  on  the 
right  track,  but  in  his  praiseworthy  rebellion  against  the  faults 
of  the  superfine  school  he  is  temporarily  primitive  in  method, 
and  seems  at  present  to  have  little  conception  of  the  different 


CUES  WICK,  REDGRAVE , RIDLEY. 


347 


sources  of  power  which  are  open  to  the  aquafortist,  or  to  deny 
himself  their  advantages. 

CRESWICK.  A Roughish  Road  by  the  Loch-side —On  the 
rough  bridle-roads  which  skirt  those  shores  of  the  Highland 
lochs  which  are  little  frequented  by  tourists,  there  are  in- 
numerable subjects  far  more  beautiful  and  interesting  than 
this.  It  is  always,  however,  a delightful  moment  when  we 
come  at  last,  on  horseback  or  on  foot,  to  any  place  where  the 
road  is  within  six  feet  of  the  water,  and  it  is  a point  of 
sympathy  between  Mr.  Creswick  and  his  present  critic,  that 
the  artist  has  felt  the  charm  of  getting  down  to  the  very  lake 
itself,  even  at  a spot  where  the  scenery  is  simple  and  common- 
place. Creswick  was  seldom  a powerful  landscape-painter, 
but  he  was  always  charming,  and  this  little  group  of  trees  and 
low  irregular  wall  and  little  glimpse  of  smooth  water  have  a 
certain  sweetness  of  their  own. 

The  Deserted  Village  (plate  2). — A watermill  with  a church- 
tower  to  the  left.  In  small  vignettes  of  this  kind  the  object 
is  usually  an  excessive  delicacy  of  treatment  which  may 
easily  pass  into  effeminacy.  The  foliage  here  is  very  graceful 
and  light,  but  it  is  not  masculine  work. 

The  Deserted  Village  (plate  19). — A broad  river  with  a 
bridge  across  it  and  castle  on  an  eminence  to  the  left,  which 
is  connected  by  the  bridge  with  a town  on  the  other  shore. 
This  .river  flows  into  a vast  dark  lake  which  is  interrupted 
only  by  the  towers  of  the  castle.  Beyond  the  lake  rises  an 
alp  of  immense  altitude  girdled  by  a rain-storm,  above  which 
its  snows  rise  in  the  serene  air.  This  is  one  of  the  most 
perfect  and  delicate  little  vignettes  of  Creswick,  and  as  a piece 
of  engraving  will  bear  a comparison  with  much  professional 
work. 

The  Deserted  Village  (plate  34). — The  central  vignette  on 
this  plate.  The  subject  is  a rustic  bridge  over  a small  river 
in  which  some  cows  are  standing  ; beyond  the  bridge  is  a 


348  CRESWICK,  REDGRAVE,  RIDLEY. 


clump  of  magnificent  elms,  and  there  is  a church-tower  in  the 
remote  distance.  The  sweetness  and  beauty  of  this  little 
composition  will  be  appreciated,  I suppose,  by  every  one. 
The  workmanship  is  very  perfect  of  its  kind,  and,  after  the 
reserves  which  have  been  made  above,  may  be  praised  very 
heartily. 

Redgrave.  BaiPara.  — A vignette  in  the  “ Songs  of 
Shakespeare,”  which  may  be  taken  as  representative  of  what 
were  the  tendencies  prevailing  in  the  English  school  at  the 
time  of  its  production.  The  plate  is  finished  like  a miniature, 
and  quite  in  the  spirit  of  miniature-painting.  Barbara  is  sitting 
by  the  stream,  according  to  the  song,  and  her  figure  is 
surrounded  by  a sort  of  framework  of  trees  and  plants,  every 
leaf  of  which  is  a separate  and  careful  study,  but  there  is  less 
careful  attention  to  masses.  This  etching  required  the  most 
delicate  printing,  and  could  only  be  perfectly  seen  in  the 
early  impressions  on  India  paper  printed  for  the  Etching  Club. 

Corpse  discovered  in  a Wood. — The  body,  probably  of  a 
murdered  man,  is  found  lying  on  its  back  in  a little  hollow 
by  a gentleman  walking  that  way.  This  is  one  of  the  best  of 
Redgrave’s  very  laborious  plates.  He  would  have  painted 
the  same  subject  still  better. 

Silver  Thames. — Exhibited  in  the  Academy,  1867.  A 
view  on  the  Thames,  very  expressive  of  the  character  of  its 
scenery.  Alternate  gleams  and  cloud  shadows  give  variety 
to  the  lighting.  The  oppositions  between  the  shaded  and 
the  lighted  trees,  though  by  no  means  too  strong  for  a state- 
ment of  that  isolated  natural  fact,  are,  nevertheless,  too  strong 
relatively  to  other  things  in  the  plate.  For  example,  the 
shaded  side  of  the  punt,  though  quite  black,  is  not  and  cannot 
be  black  enough  relatively  to  the  black  distance,  and  the 
reflection  of  the  trees  in  the  water  is  even  lighter  than  the 
trees  reflected.  The  clouds  are  boldly  put  in,  but  are  some- 
what heavy  and  wanting  in  form.  On  the  whole,  however, 


CRESWICK ; REE  GRAVE,  RIDLEY. 


349 


the  plate  is  really  an  etching,  though  not  yet  of  first-rate 
quality,  and  real  etchings  are  rare. 

Ridley.  North  Dock . — Artists  are  always  teaching  us  to 
see  something  in  what  we  believed  to  be  without  interest. 
Here  is  a chimney  with  a little  building  near  it  as  ugly  as 
any  in  Lancashire,  and  yet  it  must  be  good  material,  for  it 
seems  right  in  its  place.  The  masts  of  the  shipping,  though 
rudely  sketched,  give  the  effect  of  intricacy.  There  is  not 
much  composition  in  the  plate,  but  the  manual  work  is  simple 
and  free. 

Draham  Harbour  * — Rather  better  than  the  preceding.  A 
true  etching  in  a simple  manner ; the  etched  line  is  relied 
upon  everywhere. 

Durham  *■ — The  scenery  of  the  river  shore  here  is  quite 
remarkable  for  its  ugliness,  but  the  etching  is  on  the  whole  a 
good  one,  in  spite  of  foul  chimneys.  Mr.  Ridley’s  honest 
objection  to  anything  but  the  plain  line  sometimes  leads  him 
to  an  unnecessary  asceticism.  The  water  and  sky  are  here 
exactly  of  the  same  vacant  white,  whereas  the  water  would 
have  benefited  greatly  by  a little  delicate  tinting  in  dry-point. 
A reflection  is  always  darker  than  the  thing  reflected,  except 
when  there  is  a thin  stratum  of  mist  on  the  water-surface. 

* These  two  titles  “Draham  Harbour”  and  “Durham”  are  given  because 
they  are  engraved  under  the  etchings,  but  a correspondent  in  the  north  drew  my 
attention  to  their  evident  geographical  inaccuracy.  “ Draham  ” probably  means 
Seaham  ; as  for  Durham,  it  is  not  yet  a seaport,  whatever  future  engineers  may  do 
for  it.  Let  me  remind  my  correspondent,  however,  that  a critic  can  only  call 
works  of  art  by  the  names  they  bear,  whether  correctly  or  erroneously  bestowed 
upon  them. 


CHAPTER  XII. 


TA  YLER,  ANSjDELL,  KNIGHT 
REDERICK  TAYLER  carried  the  English  manner  as 


far  as  any  of  his  contemporaries.  There  is  especially 
one  etching  of  his,  in  the  “ Songs  of  Shakespeare,”  which  has 
not,  in  that  kind  of  work,  been  surpassed.  But  Frederick 
Tayler  had  too  distinct  manners  as  an  etcher:  the  highly 
finished  modern  way,  depending  greatly  on  creves,*  of  vari- 
ous depth,  and  on  dry-point  whose  bur  is  removed ; and  a 
much  simpler  manner  in  which  the  qualities  of  highly-finished 
etching  were  net  aimed  at.  An  example  of  each  is  criticised 
below.  I should  say,  judging  from  Mr.  Tayler’s  skilful  and 
rapid  manner  in  water-colour  sketching,  and  from  the  ability 
displayed  in  the  few  etchings  of  his  which  have  been  pub- 
lished, that  he  had  all  the  natural  gifts  of  a first-rate  etcher, 
and  nearly  all  the  knowledge,  nothing  having  been  wanting  to 
the  full  development  of  his  powers  in  that  direction  but  their 
culture  on  a larger  scale  in  works  issued  independently. 

Ansdell  is  a very  accomplished  artist,  and  when  he  does 
not  think  about  etching  at  all,  but  simply  sketches  as  he 
would  with  a finely-pointed  pen,  he  does  work  of  a certain 
value  which  value  depends  on  his  knowledge  of  animals,  and 
not  on  his  knowledge  of  etching,  in  which  he  does  not  appear 
to  be  especially  interested.  I should  place  a considerable 

* To  save  the  reader  the  trouble  of  referring  to  the  book  on  Processes,  I may 
say  here  that  the  crevi  (I  know  no  English  equivalent  for  the  word)  is  a hatching, 
so  close  that  the  separations  of  the  lines  cr&vent  (give  way,  die,  disappear)  in  the 
biting.  Creves  are  of  various  depth,  according  to  the  length  of  the  biting. 


TA  YLERi  ANSDELL,  KNIGHT. 


351 


value  on  some  of  his  simplest  etchings,  which  are  the  best, 
but  they  have  little  technical  quality  or  power. 

Mr.  Knight  has  not  been  so  industrious  a contributor  to 
the  works  of  the  Etching  Club  as  some  other  members.  The 
peculiarities  of  his  manner  are  sufficiently  indicated  below,  in 
the  criticisms  of  two  of  his  plates. 

Frederick  Tayler.  The  Forester's  Song.  — From 
beginning  to  end,  this  work  proves  an  entire  mastery  of  the 
modern  English  system.  The  use  of  close  hatching,  by  which 
tints  of  various  depths  are  acquired  at  the  sacrifice  of  line, 
has  never  been  carried  farther ; and  if  the  reader  cares  to 
study  a good  representative  specimen  of  what  English  painters 
understand  by  etching,  I could  not  suggest  a better. 
Although  on  a small  scale  the  drawing  is  so  clever  that  all 
action  and  expression  is  preserved  in  the  hands  and  features 
of  the  huntsmen.  It  is  only,  however,  in  fine  early  impressions 
that  the  reader  can  judge  of  the  technical  qualities  of  this 
plate.  In  later  ones  the  black  velvets  show  blotches,  partly, 
perhaps,  from  defective  printing. 

A Day's  Hunting  in  the  Fens  (in  Mr.  Cundall’s  series).— 
A gentleman  out  hunting  is  dragging  his  horse  out  of  a dyke. 
This  etching  has  none  of  the  executive  finish  of  the  preceding 
one,  and  belongs  to  a different  class.  It  is  scarcely  superior 
in  quality  to  much  modern  drawing  on  wood,  nor  is  there  any 
work  in  it  which  would  entirely  defeat  a first-rate  modern 
wood-engraver.  The  work  in  this  plate  is  throughout  sound, 
frank,  and  honest  in  its  own  kind. 

Ansdell.  The  Sentinel. — This  magnificent  study  of  a 
stag  will  be  found  in  the  etchings  published  for  the  Art 
Union  of  London.  Considered*  specially  as  etching,  it  may 
rank  with  such  German  work  as  that  of  Gauermann,  but  the 
draughtsmanship  is  so  intelligent  as  to  surpass  even  the  best 
designs  of  Gauermann ; and  I suppose  no  one  could  have 


352 


TAYLER,  ANSDELL,  KNIGHT 


drawn  such  a stag  better.  In  this  kind  of  etching  there  is  not 
much  technical  superiority,  because  the  technical  difficulties 
of  the  art  are  scarcely  contended  against ; but  if  we  consider 
the  work  simply  as  a drawing,  we  must  admit  that  it  is  very 
highly  accomplished.  The  vivacity  and  precision  in  the  stag’s 
eye  and  ears  and  nostril,  and  the  true  setting  of  the  noble 
head,  prove  thorough  knowledge  of  the  animal.  However 
this  may  fall  short  of  great  etching,  there  is  no  technical 
failure,  and  the  plate  shows  none  of  those  painful  signs  of 
mistaken  and  wasted  labour  so  frequent  in  modern  work. 

fellow -commoners. — Donkeys  and  sheep  on  a common. 
This  is  the  eighteenth  plate  in  those  published  for  the  Art 
Union  of  London.  The  drawing  of  the  asses  and  sheep  is 
not  quite  so  brilliant  as  that  of  the  stag  just  criticised,  with 
the  exception,  perhaps,  of  the  foal  which  is  lying  down.  As 
in  the  previous  subject,  the  artist  has  not  attempted  full 
tonality,  and  the  landscape  is  exceedingly  slight. 

Knight.  The  Peasant  and  the  Forest. — One  of  the  plates 
in  a volume  called  Etched  Thoughts , published  in  1844.  It 
may  be  noticed  as  a special  variety  of  mistaken  work.  The 
touches  are  innumerable,  but  they  explain  nothing;  the 
labour  has  been  unsparing,  but  it  has  led  to  nothing.  The 
man’s  gaiter,  the  bark  of  the  tree  and  its  section,  are  all  exe- 
cuted in  the  same  manner ; there  has  been  no  selection,  and 
the  consequence  is  confusion. 

Drinking  Song. — This  etching  was  published  in  the  “Songs 
of  Shakespeare.”  It  is  interesting  to  me  as  a sort  of  forerunner 
of  Unger’s  work,  which  looks  almost  as  if  it  were  based  upon 
it.  See  the  study  of  Unger  in  the  chapter  on  etching  from 
pictures. 

In  this  composition,  which  keeps  well  together,  the  artist 
commemorates  the  old  convivial  custom  of  clinking  glasses, 
now  fallen  into  disuse  in  England,  though  still  kept  up  on  the 
Continent 


CHAPTER  XIII. 


CHATTOCK  AND  GEORGE. 

M R.  CHATTOCK’S  earlier  studies  in  etching  were  very 
matter-of-fact  and  almost  photographic  transcripts  of 
simple  nature,  but  as  he  persevered  his  work  gradually  became 
less  prosaic  and  more  imbued  with  the  sentiment  of  an 
artist.  He  is  now  one  of  the  best  etchers  of  landscape  in 
England.  A specimen  of  his  earlier  manner  may  be  found  in 
the  Portfolio  for  May  1871,  and  if  the  reader  will  compare 
that  plate  (“  Bridge  on  the  River  Blythe  ”)  with  any  recent 
etching  by  the  same  artist,  he  will  at  once  perceive  in  what 
various  gains  of  facility  and  force  true  progress  in  art  consists. 
The  plate  just  mentioned  is  very  truthful  and  honest  work, 
but  the  critical  spectator  perceives,  at  the  first  glance,  that 
the  etcher  has  not  yet  begun  to  feel  the  power  of  the  etching- 
point,  that  he  is  trying  timidly  and  carefully,  and  rather  with 
the  seeking  of  the  student  than  the  decided  volition  of  the 
accomplished  artist.  A plate  published  in  the  Portfolio  for 
September  1873,  which  is  criticised  below,  showed  a surprising 
increase  of  power  both  in  the  use  of  line  and  in  light  and 
shade,  but  the  etcher  was  still  evidently  rather  overwhelmed 
by  his  own  hard  sense  of  fact,  so  that  there  was  a superfluity 
of  literal  truth.  Since  then  Mr.  Chattock  has  published  a 
series  of  illustrations  of  Eton  College  and  its  neighbourhood, 
which  retain  all  that  is  needed  of  the  substantial  qualities 
gained  by  his  painstaking  early  literalism,  but  exhibit  a much 
more  comprehensive  sense  of  natural  beauty  and  a finer  feeling 
for  art.  The  ability  displayed  in  this  little  series  of  etchings 

2 A 


354 


CHATTOCK  AND  GEORGE. 


led  me  to  think  that  Mr.  Chattock  would  succeed  in  etching 
from  pictures,  so  he  undertook  for  the  Portfolio  one  of  the 
noblest  landscapes  by  Gainsborough  in  the  National  Gallery. 
The  picture,  in  all  its  great  qualities,  was  strongly  opposed  to 
Mr.  Chattock’ s earliest  manner,  yet  such  had  been  his  advance 
in  art  that  he  thoroughly  shared  its  grand  and  solemn  spirit, 
and  rendered  it  with  so  much  skill  that  it  is  difficult  to 
imagine  how  it  could  have  been  rendered  better. 

Mr.  George  is  an  architect  who  having  been  accustomed 
to  make  sketches  during  tours  undertaken  for  study,  conceived 
the  idea  that  he  might  make  etchings  from  some  of  them  and 
publish  them  together  in  a volume.  He  has  published  two 
such  volumes  up  to  the  present  date,  the  first  entitled  “ Etch- 
ings on  the  Mosel,”  the  second,  “ Etchings  on  the  Loire.” 
Each  contains  twenty  plates,  remarkably  equal  in  quality, 
and  preserving  so  much  of  the  freshness  of  a first  impression 
that  if  we  did  not  know  they  had  been  done  through  the 
medium  of  studies  we  should  at  once  infer  that  all  of  them  had 
been  etched  from  nature  on  the  spot.  On  the  whole,  the  second 
series  is  better  and  more  interesting  than  the  first,  good  and 
interesting  as  that  was.  Nothing  can  be  more  honest  and 
genuine  than  the  work  in  all  these  plates  ; there  is  no  attempt, 
in  any  of  them,  to  pass  off  the  result  of  accident  as  the  result 
of  art,  everything  clearly  is  what  the  artist  intended  it  to  be  ; 
and  this  absence  of  affectation  is  carried  so  far  that,  although 
some  little  bits  of  drawing  here  and  there  may  appear  ama- 
teurish or  even  puerile,  the  artist  has  the  courage  to  leave 
them  and  expose  himself  to  some  degree  of  misunderstanding 
rather  than  spoil  the  freshness  of  his  plates  by  correction. 
The  principle  on  which  they  are  executed  is  simplicity  itself. 
The  serenity  of  the  sky  is  always  represented  by  white  paper, 
the  imagination  of  the  spectator  being  left  to  supply  whatever 
gradation  may  be  necessary.  Clouds  are  lightly  indicated 
with  a few  lines,  pale  in  tint  and  free  in  execution.  Distances 
are  lightly  sketched,  but  more  shaded  than  clouds,  foregrounds 


CHATTOCK  AND  GEORGE. 


355 


are  often  powerfully  bitten,  and  between  foreground  and 
distance  there  is  an  intermediate  region  where  both  deep  and 
shallow  lines  are  used  together,  or  one  over  the  other,  as 
required.  The  only  fault  that  can  reasonably  be  found  with 
Mr.  George’s  execution  is  rather  too  much  scribbling  here  and 
there,  especially  in  foregrounds.  However,  many  of  the  plates 
are  free  from  any  objectionable  scribble,  and  those  in  which 
it  occurs  are  still  delightful  in  spite  of  it. 

R.  S.  CHATTOCK.  “ When  Rosy  Plumelets  tuft  the  Larch  A 
— A plate  published  in  the  Portfolio  for  September  1873. 
The  subject  looks  as  if  it  had  been  found  just  as  it  is,  in  some 
commonplace  part  of  English  country.  We  are  on  the  borders 
of  a wood,  but  it  is  merely  a wood,  without  any  of  the 
grandeur  of  a forest,  and  a rail-fence  goes  across  the  whole 
subject.  To  the  right  is  a bit  of  open  field  with  sheep. 
Between  the  trees  is  a small  bridge  of  a single  arch,  but  there 
is  no  distance  except  this,  which  is  not  remote.  Winter  has 
not  yet  given  place  to  spring,  the  branches  being  without 
leaves,  but  the  “plumelets”  of  the  larch  are  visible. 

The  plate  is  very  effective  as  a strong  piece  of  realistic 
study,  full  of  a very  decided  kind  of  truth.  The  work,  how- 
ever, is  rude  and  northern  in  temper,  giving  you  perfectly  the 
sensation  of  nature  and  bringing  you  within  the  very  odour 
of  the  larch-branches,  yet  not  conveying  any  impression  of 
artistic  beauty.  You  are  simply  by  the  wood-side,  amidst 
trunks  that  a wood-cutter  might  estimate  quite  accurately,  and 
there  is  nothing  in  this  vigorous  northern  naturalism  to  remind 
you  of  artistic  sentiments  and  traditions. 

Boveney  Lock  (“  Sketches  of  Eton  ”). — The  difference  be- 
tween this  plate  and  the  preceding  one  is  not  great  in  truth 
to  nature,  for  both  are  as  true  as  they  need  be,  but  here  we 
have  more  decided  artistic  power.  The  clump  of  trees  in  the 
middle  near  the  lock-house  is  in  fine  broad  light  and  shade, 
making  a noble  mass,  whilst  its  depth  of  local  colour  is  fully 


356 


CHATTOCK  AND  GEORGE. 


preserved.  The  flat  land  on  each  side  of  the  river  is  skilfully 
though  slightly  treated,  and  so  is  the  distance,  but  nothing  in 
this  plate  proves  the  artistic  power  of  the  etcher  so  much  as 
the  perfectly  judicious  management  of  the  sky  and  the  water. 
It  is  a bright  but  cloudy  day,  rather  showery,  with  glimpses 
of  blue  sky,  and  the  artist  has  conveyed  the  impression  of  all 
this  as  completely  by  free  point-sketching,  not  very  deeply 
bitten,  as  he  could  have  done  by  the  most  patient  engraving. 
The  water  is  quite  a model  for  the  wise  use  of  line  for  ripple, 
and  of  thin  dry-point  tinting  between  the  bitten  lines  for 
reflections. 

Monkey  Island.  (“Sketches  of  Eton.”) — A particularly 
clever  piece  of  lowland  landscape  with  water  and  poplars. 
The  reflections  in  the  running  water  are  simply  and  powerfully 
drawn.  In  this  plate  Mr.  Chattock  uses  to  great  advantage  a 
technical  resource  which  is  very  familiar  to  -him,  that  of  em- 
ploying thick  lines  and  thin  ones  in  the  same  place  to  get 
transparency,  the  thin  ones  acting  very  like  a glaze  in 
painting. 

The  College  from  the  River.  (Sketches  of  Eton.) — One  of 
the  richest  and  most  brilliant  etchings  in  the  series.  The 
college  buildings  look  exceedingly  grand,  with  all  their  turrets 
and  battlements,  and  the  manner  in  which  the  rippling  river 
just  recognises  them  all  in  broken  reflection  is  quite  a lesson 
for  a student  of  landscape.  The  lighting  is  unusual,  for  the 
front  of  the  building  is  all  in  shade,  and  the  sunshine  only 
catches  the  roof,  and  the  low  trees,  and  the  grass  between  the 
college  and  the  river,  but  the  effect  is  excellent,  and  all  the 
better  in  this  instance  that  it  enhances  the  impression  (which 
is  the  true  one)  of  a grey,  old  building,  darkened  with  the 
gloom  of  centuries,  situated  in  the  midst  of  the  ever-renewed 
freshness  of  nature. 

Ernest  George.  Trier,  the  Market  Place , Fountain, 
and  Rothes-Haus. — I will  leave  Mr.  George  himself  to  describe 


CHATTOCK  AND  GEORGE. 


357 


the  subjects  of  his  plates,  and  then  add  a few  sentences  of 
criticism.  After  speaking  of  the  decline  of  Trier  he  con- 
tinues— 

“ There  is,  however,  life  and  activity  in  the  large  market- 
place, from  which  our  sketch  is  taken.  A handsome  Renais- 
sance fountain  forms  the  foreground.  As  we  saw  it  at  harvest 
time  the  figure  surmounting  it  had  in  its  arms  a sheaf  of 
newly-reaped  wheat  which  shone  golden  against  a blue  sky. 
Market  women  were  busy  around  it  with  their  large  baskets 
of  blooming  fruit.  Fantastic  gables  and  high  roofs  enclose  the 
lively  scene.  Foremost  of  these  old  buildings  is  the  Rothes 
Haus  in  our  picture  with  its  steep  slate  roof  and  its  carved 
gables  down  the  street.  It  is  built  of  the  red  iron-stone  on 
which  the  city  stands.  It  was  once  the  Ratshaus,  but  is  now 
the  comfortable  hotel  at  which  we  stayed.” 

The  two  principal  things  in  the  etching  are  the  house 
just  mentioned,  and  the  fountain.  In  the  foreground  are 
market-women  with  their  baskets  of  produce.  The  fountain 
is  skilfully  drawn,  but  rather  over-bitten  in  the  blacks,  the 
market-women,  baskets,  etc.,  are  just  of  the  quality  we  find  in 
the  old  woodcuts  of  such  subjects  in  the  Penny  Magazine — 
no  better,  no  worse,  but  the  drawing  and  shading  of  the  old 
Ratshaus  are  to  my  taste  very  refined  and  delightful.  The 
building  is  all  veiled  in  a delicate  semi-transparent  half-tint, 
the  light  slanting  down  across  it  and  catching  the  battlements 
beautifully. 

S chlos s Elz.  View  of  the  Castle  approached  from  Carden. 
“Winding  down  a richly- wooded  valley,  we  have  all  at  once 
before  us  the  marvellous  group  shown  in  our  sketch.  Schloss 
Elz  is  rising  out  of  the  lofty  rock,  round  which  the  stream  of 
the  Elz  makes  almost  a circuit.  Here  is  the  most  delightful 
cluster  of  towers,  turrets,  and  gables,  dormer  windows  and 
bartizans,  making  a broken  outline  against  the  sky.” 

Schloss  Elz  looks  so  much  like  the  fancy  of  some  artist- 
poet  that  one  has  a difficulty  in  believing  it  to  be  real.  Mr. 


CHATTOCK  AND  GEORGE. 


358 


George  has  drawn  all  the  upper  part  of  the  castle  admirably 
well,  having  evidently  enjoyed  the  roofs  and  turrets  as  they 
deserved,  but  he  has  not  fairly  drawn  the  rock  on  which  the 
castle  stands,  nor  the  bushes  on  the  rock.  Stronger  * work 
here  would  have  benefited  the  plate  considerably. 

Angers.  Hotel  ds  Pince.  “We  show  in  our  etching  a 
white  stone  palace  of  the  Renaissance  period.  This  pic- 
turesque chateau  has  been  miscalled  the  Hotel  des  Dues 
d’ Anjou,  but  there  is  no  evidence  that  those  magnates  ever 
crossed  its  threshold.  It  is  a princely  dwelling,  and  was 
erected  by  Pierre  de  Pince,  one  of  a family  in  high  favour  at 
the  court  of  Francis  I.  The  house  is  a characteristic  example 
of  the  buildings  of  a time  when  a broken  and  Gothic  outline 
was  preserved  after  the  introduction  of  pilasters,  cornices,  and 
classic  mouldings.  The  circular  projections  corbelled  out 
from  the  wall  are  favourite  features  in  the  work  of  this  period, 
and  turret-stairs,  as  well  as  oriel  windows  and  balconies,  were 
made  to  serve  the  architect  in  his  scheme  of  light  and  shade.” 

This  is  a very  beautiful  example  of  the  best  qualities  in 
Mr.  George’s  system  of  etching.  Instead  of  the  black  opaque 
blotches  of  printing-ink  which  do  duty  for  shadows  in  vulgar 
work,  the  shadows  here  are  pale  and  luminous  with  reflection, 
and  rich  in  interesting  detail,  as  they  were  probably  in  the  palace 
itself.  Another  thing  which  pleases  me  very  much  in  this  kind 
of  drawing  is  the  reliance  which  the  artist  so  wisely  places  on 
very  slight  markings  and  distinctions.  The  outlines  of  the 
palace  against  the  sky  are,  on  the  lighted  side,  so  faint  and  thin 
as  to  be  barely  visible,  yet  the  slightest  unnecessary  heaviness 
in  these  lines  would  have  gone  far  to  destroy  that  aspect  of 
aerial  elegance  which  lifts  the  building  so  much  above  the  level 
of  prosaic  architecture.  Yet  although  there  is  much  delicacy 
in  this  drawing  there  is  no  weakness.  All  construction  is 
thoroughly  understood  and  fully  explained.  Every  important 

* 1 do  not  mean  blacker  work,  but  drawing  with  more  meaning,  drawing 
representing  substance  more  decidedly. 


CHATTOCK  AND  GEORGE. 


359 


detail  of  pilaster,  cornice,  and  moulding,  every  changing  direc- 
tion of  wall-surface  is  made  quite  clearly  intelligible  although 
it  may  not  be  drawn  with  the  minuteness  of  the  photograph. 

Amboise,  the  Chateau  and  Bridge. — “Amboise,  one  of  the 
most  quaint  and  charming  spots  of  France,  and  a favoured 
haunt  of  her  kings,  rises  on  a rock  left  of  the  Loire.  It  is 
approached  from  the  north  by  two  massive  bridges,  whose 
many  arches  span  the  shallow  waters  of  the  Loire,  and  of  its 
tributary  the  Amasse,  which  joins  it  here.  High  roofs  still 
cluster  beneath  the  castle,  though  many  old  houses  were 
cleared  away  by  Louis  Philippe.  At  the  angles  of  the  rock 
are  huge  round  towers,  most  of  them  now  roofless. 

One  of  the  best  instances  amongst  these  etchings  of  a 
pleasant  and  mellow  general  effect.  The  bridge  is  in  deep 
shadow,  the  light  only  just  catching  the  parapet  and  tops  of 
the  cut-water  piers.  The  castle-eminence  to  the  left,  with 
the  trees  above  it  and  houses  below,  is  also  massed  in  shade, 
but  the  chateau  itself  and  the  houses  on  the  river-shore  to  the 
right  are  in  full  sunshine  and  beautifully  lighted.  All  this 
fine  material  is  treated  quite  in  the  temper  of  the  true  etchers. 
No  single  piece  of  detail  is  more  than  sketched,  and  if  you 
take  any  separate  thing,  such  as  one  window,  one  chimney, 
one  little  figure  by  the  shore,  it  will  seem  to  you  but  slight 
and  careless  work  if  you  have  not  rather  large  conceptions  of 
art,  but  all  these  details  are  subordinate  to  the  general 
arrangement  of  the  subject,  which  holds  together  with  a per- 
fection of  unity  very  rare  in  modern  etchings  of  such  material. 
In  fact  there  is  as  much  unity  in  this  plate,  and  as  mellow  a 
feeling  for  all  that  constitutes  breadth  and  repose  in  art,  as 
there  could  be  in  a picture  by  some  tranquil-minded  painter 
in  love  with  the  calm  beauty  of  this  royal  dwelling  by  the 
Loire,  and  forgetful  of  that  dreadful  day  when  from  that 
castle  balcony  the  young  Mary  Stuart  saw  its  waters  laden 
with  more  than  a thousand  Protestant  corpses  just  freshly 
slain  before  her  beautiful  eyes. 


ETCHING  AND  ETCHERS. 


BOOK  V. 

THE  INTERPRETERS  OF  PAINTING 

AND 

COPYING  IN  FACSIMILE. 


« 


CHAPTER  I. 

TIIE  INTERPRETERS  OF  PAINTING. 

FLAMENG,  LAGUILLERMIE,  RAJON,  WALTNER,  BRUNET- 
DEBAINES,  GAUCIIEREL,  MONGIN,  WISE,  LE  RAT, 
JACQUEMART,  UNGER. 

HP  HE  recent  history  of  etching  offers  this  remarkable  sub- 
ject of  reflection,  that  the  art  is  now  mainly  employed 
for  a purpose  not  generally  foreseen  at  its  revival,  and  quite 
outside  of  its  earliest  uses  in  the  hands  of  the  greatest  old 
masters.  They  used  it  because  it  was  the  most  convenient 
means  for  multiplying  the  precise  expression  of  their  own 
ideas,  and  when  the  art  was  revived  by  painters  in  the  nine- 
teenth century,  it  was  with  the  same  intention.  It  is  not 
very  many  years  since  Flameng  was  the  only  engraver  in 
Europe  who  studied  etching  with  a perfect  faith  in  its  power 
to  interpret  pictures,  and  even  he  had  given  sufficient  labour 
to  the  burin  to  use  it  like  a master.  The  example  of  the 
greatest  etchers  of  the  past,  so  far  from  encouraging  the  idea 
of  interpreting  pictures,  tended  always  in  the  direction  of 
original  work.  Rembrandt,  it  is  believed,  never  once  etched 
from  a picture ; his  plates  are  as  much  the  independent  out- 
come of  his  genius  as  his  works  in  oil,  and  each  plate  stands 
by  itself,  whether  slight  or  elaborate,  as  the  sufficient  and 
unique  expression  of  one  thought  of  the  master.  An  artist 
gifted  with  any  fecundity  of  invention  has  rarely  the  patience 
to  execute  his  works  twice  over,  first  in  oil  and  afterwards  on 
copper,  and  it  is  only  the  professional  engraver  who  can  find 


364  THE  INTERPRETERS  OF  PAINTING. 


in  the  interpretation  of  works  by  other  men  an  interest  and 
stimulus  sufficient  to  sustain  him  through  such  labour  for 
many  years.  When  painters  etched  it  was  seldom  from  their 
own  pictures,  still  less  from  pictures  by  other  artists.  If  they 
thought  it  desirable  to  preserve  some  memorial  of  the  works 
which  left  their  easels,  a slight  sketch  on  paper,  with  a wash 
of  shade,  was  enough  to  recall  the  picture  to  the  memory,  and 
ensure,  as  in  Claude’s  Liber  Veritatis , its  identification  by 
future  purchasers.  The  time  required  to  etch  a picture  satis- 
factorily would  in  itself  have  been  a decisive  objection,  but 
besides  this  there  was  not  until  quite  recently  any  great 
accumulation  of  general  experience  about  the  best  methods  of 
interpreting  brush-work  with  the  etching-needle,  so  that  there 
was  hardly  anybody  in  Europe  who  quite  knew  how  it  ought 
to  be  done.  If,  then,  it  had  occurred  to  a painter  to  keep  a 
record  in  etching  of  the  pictures  which  he  produced,  he  would 
probably  have  confined  himself  to  a simple  memorandum  in 
line,  done  on  the  principles  of  a pen-sketch,  without  any 
attempt  to  imitate  handling  and  texture.  Such  a memor- 
andum would  have  had  its  use,  but  could  not,  in  the  nature 
of  things,  have  conveyed  to  others  anything  like  a perfect 
conception  of  a picture  which  they  had  never  seen. 

The  modern  art  of  etching  from  pictures  intends  to  go 
very  much  farther  than  this,  and  does  indeed,  in  skilful  hands, 
succeed  to  a degree  which  may  well  surprise  a critic  who  is 
thoroughly  acquainted  with  the  difficulties  of  the  process. 
The  facility  with  which  the  etching-needle  is  handled  in  com- 
parison with  the  difficulty  of  the  burin,  and  the  fact  that  it 
is  held  in  the  fingers  exactly  as  a brush  is  held,  instead  of 
being  pushed  like  the  burin,  are  indeed  greatly  in  the  etcher’s 
favour,  but  the  difficulty  of  getting  accurate  light-and-shade 
by  the  use  of  acid  is  as  much  against  him.  In  etching  of  a 
simpler  kind,  when  the  lines  are  very  decided  and  well  sepa- 
rated, partial  failures  in  biting  are  not  fatal  to  the  quality  of 
the  work,  for  the  quality  in  line-etching  depends  upon  the 


THE  INTERPRETERS  OF  PAINTING.  365 


amount  of  knowledge  and  feeling  which  is  put  into  the  line, 
and  even  when  the  line  is  bitten  too  much  or  too  little,  the 
knowledge  and  feeling  originally  put  into  it  are  still  quite 
clearly  visible.  But  in  shading,  which  is  nothing  but  shading, 
the  case  is  altogether  different.  Here,  if  the  tone  is  wrong 
everything  is  wrong,  and  the  tone  depends  almost  entirely 
upon  the  biting. 

The  general  result  of  modern  etching  from  pictures  has 
been  this.  Some  wonderful  things  have  been  done,  and 
much  that  has  been  done  is  very  satisfactory  to  painters,  who 
are  unquestionably  the  best  judges  of  a matter  of  this  kind. 
On  the  other  hand  a great  deal  of  really  bad  and  ville  work 
from  pictures  has  been  published,  and  is  yet  published  in 
steadily  increasing  quantity,  work  for  which  no  true  critic 
either  of  etching  or  of  painting  would  consent  to  be  held 
responsible.  Etching  from  pictures  has  in  fact  become  a 
regular  business,  and  many  artists  have  taken  to  as  a 
resource  when  painting  or  engraving  with  the  burin  did  not 
bring  a sufficient  income.  It  is  almost  impossible  to  earn  an 
income  by  original  work  in  etching,  even  for  the  most  gifted 
geniuses,  but  there  is  always  a demand  for  the  reproduction 
of  pictures  in  various  forms,  and  it  so  happens  that  publishers 
and  their  customers  have  perceived  that  etching  can  do  this 
with  effect.  The  etcher  has  indeed  many  advantages  on  his 
side  when  he  interprets  certain  kinds  of  pictures.  His  range 
of  light  and  dark  is  as  wide  as  it  can  be ; he  can  follow  the 
oil  painter  down  into  his  lowest  tones,  even  to  the  obscure 
depths  of  gloom  in  the  darkest  old  masters,  and  he  can  at 
the  same  time  fully  suggest  the  brilliance  of  the  fairest  com- 
plexion or  the  lightest  costume.  Persons  who  have  never 
studied  the  subject  are  very  apt  to  imagine  that  the  scale  of 
the  different  kinds  of  graphic  art  is  much  the  same  in  all 
cases,  since  they  all  have  black  for  their  lowest  note,  and 
white  for  their  highest,  but  this  conception  is  very  imperfect 
and  inaccurate.  Compare  etching,  for  example,  with  any  one 


366 


THE  INTERPRETERS  OF  PAINTING. 


of  the  numerous  photographic  facsimile  processes  which  are 
made  to  print  typographically  along  with  printed  text,  the 
blackest  black  which  can  be  got  by  this  surface  printing  is 
grey  in  comparison  with  the  depth  of  the  etcher’s  blacks,  and 
at  the  same  time  the  thinnest  line  in  the  photographic  fac- 
simile is  thick  and  heavy  in  comparison  with  the  faint  lines 
which  an  etcher  can  draw  with  the  sharpened  needle  or  dia- 
mond point,  so  that  he  has  the  advantage  at  both  ends  of  the 
scale.  Besides  this,  as  we  have  already  observed,  a skilful 
etcher  has  a great  range  of  different  textures  at  command,  so 
that  he  can  follow  the  painter  pretty  closely  in  the  suggestion 
of  surface  quality,  much  more  closely  than  the  burin  could 
possibly  follow  him.  The  needle  is  not  a brush,  and  yet  the 
more  visible  the  brush-work  is  the  more  easily  the  etcher  can 
explain  to  us  how  the  painter  used  his  instrument,  for  he 
enjoys  just  as  much  liberty  as  the  painter  himself,  and  where- 
ever  a hog’s  bristle  has  left  a marking  he  can  imitate  it.  The 
same  facility  with  the  point,  and  the  fineness  with  which  it 
can.be  used  in  drawing,  make  it  an  excellent  instrument  for 
the  rendering  of  expression.  Its  superiority  in  this  respect  is 
so  marked,  that  some  of  the  most  eminent  etchers  from  pic- 
tures, when  left  free  to  choose  their  subjects,  have  willingly 
interpreted  painters  who,  like  Franz  Hals,  made  expression 
an  especial  study. 

In  estimating  work  done  from  pictures,  the  reader  is  re- 
quested to  keep  constantly  present  in  his  mind  two  principles 
which  are  independent  of  each  other,  or  nearly  so,  and  which 
when  reduced  to  practice  are  found  to  be  complementary  of 
each  other,  the  principle  of  imitation  and  the  principle  of 
interpretation.  In  working  from  nature  the  imitative  prin- 
ciple is  a very  dangerous  one  to  admit  without  the  most 
jealous  control,  for  when  allowed  to  reign  unopposed,  it  utterly 
paralyses  all  the  higher  artistic  faculties,  but  in  working  from 
pictures  the  case  is  altered,  and  the  etcher  should  imitate  as 
much  as  he  safely  can,  even  to  the  very  touches  if  possible 


THE  INTERPRETERS  OF  PAINTING. 


307 


The  reason  for  this  difference  is  obvious.  In  working  directly 
from  nature  the  model  is  simple  nature  without  the  interven- 
tion of  any  human  feeling,  and  if  the  artist  were  simply  to 
imitate  in  his  studies,  there  would  be  no  human  feeling  in 
them  whatever ; but  when  we  have  a picture  before  us  the  feel 
ing  of  the  painter  has  already  fully  provided  that  human  ele- 
ment which  is  essential  to  a work  of  art,  and  there  is  little 
necessity  to  superadd  a second  human  element  from  the 
mind  of  the  engraver.  Whenever,  therefore,  the  engraver  can 
accurately  imitate  the  original  painting,  it  is  right  for  him  to 
do  so,  but  there  are  times  when  such  imitation  is  not  possible. 
There  is  much  in  painting  which  can  never  be  imitated  in 
etching,  but  whenever  the  copyist  perceives  that  he  has  to 
confront  one  of  these  difficulties,  he  has  always  the  resource 
of  interpretation  which,  far  from  making  his  work  less  admir- 
able, is  likely,  if  well  done,  to  give  it  a higher  and  more  inde- 
pendent interest.  The  two  things  may  embarrass  a young 
student,  but  every  experienced  artist  or  really  cultivated 
critic  will  at  once  perceive  the  clear  distinction  between  them. 
The  best  etchers  from  pictures  imitate  and  interpret  by  turns, 
just  as  it  seems  best  to  them,  and  are  equally  at  home  in 
both.  Rajon,  for  example,  will  imitate  the  black  velvet  of  a 
burgher’s  doublet  in  some  old  Flemish  picture,  till  the  imita- 
tion has  almost  precisely  the  quality  of  the  original  painting ; 
but  when  he  comes  to  Turner’s  Temeraire  he  resorts  boldly 
to  the  most  frank  interpretation,  and  suggests  to  our  imagina- 
tion the  subtle  tones  which  he  cannot  set  before  our  eyes. 
Armed  with  these  dual  powers,  there  is  nothing  in  painted  art 
which  the  etcher  may  not  justifiably  attempt. 

Since  etchers  who  work  from  pictures  endeavour  to  ac- 
commodate themselves  as  much  as  possible  to  the  manner 
and  feeling  of  the  painter,  it  follows  that  their  own  personal 
style  is  often  merged  and  lost  in  that  of  the  picture  before 
them,  so  that  it  is  not  easy  to  define  the  qualities  of  an  etcher 
from  pictures,  as  we  have  been  defining  those  of  the  original 


368 


THE  INTERPRETERS  OF  PAINTING. 


etchers  hitherto  considered  in  this  volume.  The  reader  will 
at  once  perceive  the  difficulty ; I for  my  part  have  felt  it  so 
much  that  I find  it  impossible  to  say  much  of  these  etchers 
personally  without  attributing  to  one  of  them,  as  a distinction, 
qualities  which  others  have  in  an  equal  degree.  For  example, 
as  an  original  etcher  of  still-life,  Jules  Jacquemart  acquired  a 
power  so  peculiar  to  himself  that  his  plates  were  recognisable 
at  the  first  glance,  like  some  original  and  familiar  signature, 
but  since  he  has  begun  to  work  from  pictures,  many  plates 
have  appeared  by  him,  which,  if  his  name  were  not  attached 
to  them,  might  easily  be  attributed  to  another  artist,  even  by 
an  accomplished  critic,  well  acquainted  with  Jacquemart/s 
manner.  There  are  plates  by  Flameng,  Rajon,  Waltner,  and 
others,  which  it  would  be  just  as  difficult  to  recognise  as  their 
handiwork.  It  is  not  easy,  nor  would  it  be  right,  for  an  etcher 
to  supersede,  by  a mannerism  of  his  own,  the  mannerisms  of 
the  different  painters  he  interprets,  but  there  is  another  reason 
which  has  of  late  years  caused  a very  definite  loss  of  person- 
ality in  the  etchers  who  copy  pictures.  A certain  body  of 
general  executive  experience  has  formed  itself,  and  is  now  a 
common  stock  belonging  equally  to  all  who  have  thoroughly 
mastered  the  art.  The  younger  men  try  to  acquire  this  as 
quickly  as  they  can,  and  the  cleverest  of  them  succeed  in  doing 
so  very  rapidly.  They  usually  come  to  the  art  with  the  ex- 
perience of  a student  who  has  gone  through  the  regular  con- 
tinental education  in  painting,  so  that  they  know  a good  deal 
about  the  qualities  of  painting,  and  a moderate  degree  of 
application  suffices  to  make  them  perceive  the  value  of  the 
common  methods  of  interpretation  or  imitation  with  the 
etching-needle,  which  they  at  once  adopt.  A young  man  so 
prepared  by  previous  general  education  in  drawing  and  paint- 
ing may  soon  become  a clever  etcher  from  pictures  if  he  has 
good  abilities,  and  if  he  has  fine  taste  and  sensitive  feeling, 
with  a naturally  delicate  hand,  he  may  do  really  admirable 
work  in  a few  years.  But  this  rapidity  of  progress  in  our 


TIIE  INTERPRETERS  OF  PAINTING.  36c > 


younger  contemporaries,  is  due  especially  to  the  fact  that  the 
way  has  been  made  plainer  for  them  by  the  pioneers,  especially 
by  Flameng.  What  occurred  in  the  earlier  part  of  this  century 
in  landscape  engraving  has  now  occurred  in  etching,  especially 
in  figure-etching  from  Dutch  pictures — a definitively  best  way 
of  doing  things  has  been  discovered  and  is  already  traditional. 
We  need  not  value  the  art  less  for  this.  An  art  may 
render  useful  service  which  is  not  the  outcome  of  personal, 
individual  genius.  The  engravers  who  interpreted  Turner,  and 
interpreted  him  on  the  whole  so  astonishingly  well,  were  a 
school  which  had  its  methods  in  common.  Take  the  volume 
of  the  “ Rivers  of  France  ” and  try  to  guess  who  engraved 
each  plate,  without  looking  at  the  engraver’s  name  in  the 
corner.  Those  plates  were  done  by  twelve  different  engravers  ; 
can  you  recognise  them  by  their  work  ? No,  you  cannot ; the 
book  is  so  homogeneous  that  it  looks  as  if  the  designs  had 
been  all  engraved  by  one  person.  Exactly  the  same  methods 
of  interpretation  are  employed  throughout.  And  yet  what 
consummate  skill ! — what  admirable  precision  in  dealing  with 
the  most  subtle  distinctions  of  tone  in  those  skies  and  water- 
surfaces  of  T urner ! Here  is  a kind  of  engraving  which,  without 
being  personal,  since  twelve  men  could  do  it,  is  still  most  use- 
ful and  valuable,  for  it  has  rendered  with  exquisite  delicacy 
the  work  of  a great  genius,  and  multiplied  it  by  thousands. 
So  it  is  already  with  this  modern  art  of  etching  from  pictures. 
It  is  not  the  new  invention  or  discovery  of  every  etcher  who 
uses  it,  it  is  now  very  generally  an  acquired  “ business,”  and 
yet  its  results  may  be  well  worth  having. 

Since,  however,  the  etchers  have  so  much  in  common,  I 
shall  not  give  them  separate  chapters  as  I did  to  the  original 
men,  but  shall  select  for  mention  a few  of  their  most  important 
works. 

Flameng.  The  “ Night  Watch ,”  after  Rembrandt. — It  is 
evident  that  in  this  ambitious  and  important  plate  M.  Flameng 


370 


THE  INTERPRETERS  OF  PAINTING . 


has  determined  to  give  to  the  world  a striking  example  of  his 
mastery  as  an  etcher,  and  I was  therefore  the  more  surprised, 
when  the  work  first  appeared,  by  an  obvious  fault  in  tonality, 
the  all  but  total  loss  of  modelling  in  certain  blacks  where  it 
ought  to  have  been  distinctly  visible.  The  central  figure  is  in 
full  light;  this  is  evident,  for  his  extended  hand  casts  a shadow 
on  his  companion,  and  his  advanced  leg  casts  another  upon 
the  ground  ; the  face  and  collar,  too,  are  strongly  lighted,  and 
yet  the  doublet  and  breeches  are  a black  blot,  in  which  nothing 
is  distinguishable  except  a few  little  buttons.  There  is  abso- 
lutely no  form  whatever  in  them.  This  solecism  is  so  glaring 
that  it  strikes  one  at  the  first  glance,  and  I expressed  my  sur- 
prise about  it  to  the  artist  himself.  He  wrote,  in  answer,  that 
the  printer  had  overcharged  the  blacks  in  the  printing,  but  also 
that  the  picture  itself  is  so  loaded  with  dirt  that  it  cannot  be 
properly  seen,  besides  which  it  is  hung  in  a little  room  badly 
lighted  — so  badly,  that  the  etcher  could  never  have  made  it 
out  at  all  without  the  occasional  assistance  of  a direct  sunbeam. 
Flameng  believes  that  Rembrandt’s  intention  was  not  to 
paint  a “Night  Watch”  but  a daylight  effect,  and  that  this 
will  'become  evident  if  ever  the  picture  shall  be  cleaned  and 
hung  where  it  may  be  visible. 

I have  mentioned  this  in  justice  to  the  etcher.  In  every 
other  respect  the  work  is  a marvel.  If  the  reader  has  the 
opportunity  of  comparing  it  with  any  of  the  common  engrav- 
ings of  the  same  picture  (for  example,  the  woodcut  in  Charles 
Blanc’s  Histoire  des  Peintres ),  he  will  soon  perceive  the  value 
of  Flameng’s  masterly  drawing,  especially  in  the  expression 
of  the  faces,  which  in  a work  of  this  kind  is  the  chief  thing, 
the  source  of  its  human  power.  After  that  two  other  qualities 
are  to  be  noticed — the  brilliant  use  of  line  on  a white  ground, 
as  in  the  shorter  of  the  two  central  figures,  the  little  girl,  the 
collar  of  the  tall  man  in  black,  and  elsewhere  ; and  in  striking 
contrast  with  this  the  soft,  rich  shading,  especially  of  the  large 
clear  obscure  spaces  in  the  background.  If  the  student  will 


THE  INTERPRETERS  OF  PAINTING. 


37i 


follow  out  the  many  different  kinds  of  shading  employed  in 
this  work,  he  will  perceive  that  they  form  in  themselves  a sort 
of  music,  with  notes  often  purposely  harsh  for  contrast  with 
the  suavity  of  others.  It  is  not  surprising  that  a clever  and 
experienced  workman  should  find  out  many  different  ways  of 
using  the  etching-needle,  but  it  is  surprising  that  he  should  be 
able  to  reconcile  such  very  opposite  qualities  till  they  all  sing 
pleasantly  together  in  one  harmonious  masterpiece. 

FLAMENG.  L’Abreuvoir,  after  Troyon. — This  plate  was 
published  in  the  Gazette  des  Beaux  Arts  for  June  1874.  I 
mention  it  in  this  place  as  a particularly  good  example  of  an 
etcher’s  subordination  to  the  painter  he  interprets.  Not  only 
have  we  here  the  feeling  of  Troyon,  his  unpretending  yet  sub- 
stantial draughtsmanship,  and  his  simple  yet  effective  scheme 
of  light  and  shade  ; but  we  have  also,  at  least  for  any  one  who 
knows  the  painter,  a striking  reminder  of  his  very  brushwork. 
In  the  sky  and  distance  especially  the  etching-needle  has 
become  a brush,  and  the  very  strokes  of  Troyon’s  powerful 
hog-tool  are  visible  all  over.  So  close  an  imitation  of  a 
painter’s  manner  is  of  more  importance  than  some  persons 
may  readily  believe.  It  greatly  helps  to  put  us  in  unison  with 
his  feeling.  Such  a picture  as  this  would  be  robbed  of  half 
its  force  if  translated  by  some  cold,  mechanical  engraver ; but 
the  lively  sympathy  of  the  etcher  with  the  painter  places  us  in 
direct  communication  with  him,  till  we  quite  forget  paper  and 
print,  and  see  the  painted  canvas  itself. 

FLAMENG.  Francis  the  First  and  the  Duchess  of  £ tamp es, 
after  Bonington. — This  plate  was  published  in  the  Portfolio 
for  January  1873.  The  reader  may  have  seen  the  original 
picture  in  the  Louvre,  a very  brilliant  little  gem  of  colour. 
This  plate  is  just  as  brilliant  a piece  of  etching;  indeed  at  the 
time  of  its  publication  it  was,  I believe,  the  most  accomplished 
piece  of  work  which,  in  that  particular  kind,  had  ever  been 


372 


THE  INTERPRETERS  OF  PAINTING. 


produced.  The  qualities  most  valued  in  modern  painting 
appear  to  be  colour  and  texture  (the  most  recent  sales  seem 
to  prove  it  more  and  more),  with  sparkle.  This  plate  is  all 
full  of  texture  and  sparkle,  with  the  suggestion  of  local  colour 
which  black-and-white  art  can  give.  It  is  quite  a typical 
example  of  modern  painting,  with  its  little  incident,  its  study 
of  costume,  its  exhibition  of  technical  dexterity.  M.  Flameng 
has  throwm  himself  into  the  spirit  of  it  as  thoroughly  as  if  he 
had  been  the  author  of  the  picture.  It  has  never  seemed  to 
me  that  texture  and  sparkle  were  the  highest  qualities  of  art, 
but  the  modern  public  delights  in  them,  and  here  they  are, 
tant  qilil  en  voucb'a  ! 

F.  Laguillermie.  A Dwarf  of  Philip  IV.  of  Spain , 
after  Velasquez. — This  etcher  has  had  the  advantage  of  a 
more  extended  artistic  education  than  is  common  in  these 
times.  He  was  taught  engraving  by  Riffaut  and  Flameng  ; 
he  is  also  a Grand  Prix  de  Rome , and  a painter.  He  has 
gone  through  laborious  studies  in  Paris,  Rome,  Athens,  and 
Madrid.  I mention  this  particular  plate,  which  was  published 
in  the  Portfolio  for  April  1873,  as  a fine  example  of  a very 
free  kind  of  interpretation.  Any  one  who  knows  Velasquez 
will  be  very  strongly  reminded  of  him  by  this  etching,  and 
yet  M.  Laguillermie  has  worked  quite  in  his  own  way,  with 
strong  sabre-strokes  for  shading,  and  not  the  slightest 
attempt  to  amuse  us  by  pretty  textures.  The  plate  is  one  of 
my  great  favourites.  The  subject  of  the  picture  is  deeply 
interesting,  as  the  following  paragraph,  which  I wrote  in  the 
Portfolio , will  explain  : — 

“ But  there  were  differences  amongst  the  dwarfs,  which 
Velasquez  perceived  with  his  keen,  artistic  intelligence,  and 
profound  observation  of  mankind.  One  of  them  was  merely 
silly,  another  scowled  hatred  and  envy  from  under  his  beetling 
brows  ; but  this  one,  whose  image  is  here  before  us,  bears  the 
pain  of  a nobler  suffering.  O sad  and  thoughtful  face,  look* 


THE  INTERPRETERS  OF  PAINTING. 


373 


ing  out  upon  us  from  the  serious  canvas  of  Velasquez,  though 
the  grave  has  closed  upon  thee  for  two  hundred  years,  we 
know  what  were  thy  miseries  ! To  be  the  butt  of  idle  princes 
and  courtiers,  and,  worse  than  that,  to  be  treated  by  the  most 
beautiful  women  as  a thing  that  could  have  no  passion,  to  be 
admitted  to  an  intimacy  which  was  but  the  negation  of  thy 
manhood,  to  have  ridicule  for  thy  portion  and  buffoonery  for 
thy  vocation  ; and  yet  to  be  at  the  same  time  fully  conscious 
of  an  inward  human  dignity  continually  outraged,  of  a capa- 
city for  learning  and  for  thought  ! — all  this  was  enough 
indeed  to  drive  thee  to  noble  folios,  that  gave  thee  some  sense 
of  human  equality,  some  intellectual  fraternity  and  con- 
solation ! ” 

RAJON.  Portrait  of  John  Stuart  Mill,  after  G.  F.  Watts, 
R.A. — M.  Rajon  is  one  of  the  most  productive  of  the  modern 
etchers  from  pictures,  and  at  the  same  time  one  of  the  surest. 
He  respects  himself,  and  never  issues  slovenly  or  careless 
work,  which  cannot  be  said  of  all  his  brethren.  It  is  not  sur- 
prising that  he  should  interpret  the  qualities  of  painting  well, 
for  he  is  a painter. 

Mr.  Watts  has  painted  many  portraits  which  have  de 
servedly  taken  rank  amongst  the  most  important  pictures  of 
the  age.  It  is  almost  a profanation  to  mention  such  art  as 
his,  so  full  of  intellect  and  earnestness,  so  serenely  serious,  on 
the  same  page  with  the  vulgar  and  brainless  work  which  is 
the  every-day  product  of  the  regular  portrait-manufacturer. 
It  is  not  necessary  to  define  vulgarity  in  this  place  ; but  I may 
observe  that  if  any  one  cares  to  possess  what  is  the  exact 
opposite  of  vulgarity  in  portraiture,  he  may  have  it  in  this 
noble  etching  from  a noble  picture.  There  is  no  idle  flattery 
here,  no  frivolous  hiding  of  the  signs  of  age,  no  lending  of  an 
inappropriate  gaiety.  The  tailor  and  hairdresser  did  not 
determine  the  painter’s  work  for  him  before  he  began  it.  One 
purpose  only  occupied  him — to  paint  worthily  a human  head 


374 


THE  INTERPRETERS  OF  PAINTING. 


that  was  worthy  of  being  painted.  Perhaps,  indeed,  and 
here  is  the  only  criticism  I feel  inclined  to  make,  the  costume 
and  body  have  been  too  much  sacrificed  to  the  head;  they  are, 
in  fact,  seen  under  different  degrees  of  illumination.  You  see 
as  much  of  the  body  as  you  could  distinguish  in  the  gloom  of 
the  latest  twilight,  but  the  face  is  in  the  ordinary  daylight  of 
a room,  in  “ a good  gallery  light,”  and  every  detail  is  visible. 
Nor  can  it  be  fairly  argued  that  the  body  is  in  shadow  and 
the  head  in  light,  as  it  would  have  been  a great  maladresse 
to  make  the  space  of  shade  coincide  so  precisely  with  the 
black  costume  as  to  create  confusion  between  shade  and 
local  colour.  The  flat  equality  of  the  dark  background,  in 
which,  at  least  in  the  etching,  no  gradation  of  any  kind  is 
traceable,  is  also  a mistake.  It  would  be  difficult  to  find,  on 
the  dullest  day,  in  the  plainest  room,  a space  so  absolutely 
without  variety.  The  background  and  costume  are  both, 
however,  very  cleverly  etched,  and  the  effect  they  produce  is 
like  that  of  hearing  two  or  three  of  the  very  lowest  notes  on 
the  double-bass.  The  depth  of  etching,  in  the  lowest  notes, 
has  seldom  been  more  powerfully  exhibited.  The  biting 
of  the  coat  is  almost  as  deep  as  the  bitings  in  Turner’s 
etchings. 

The  face  is  one  of  the  very  finest  pieces  of  work  ever  exe- 
cuted. Some  people  say  that  etching  cannot  render 
modelling,  and  Mr.  Ruskin  says  that  it  cannot  represent 
hair ; yet  the  modelling  of  this  face  is  as  thorough  and  ela- 
borate as  it  could  be  in  any  kind  of  engraving,  and  the  scanty 
locks  of  hair,  and  thin  whiskers,  are  rendered  with  a perfec- 
tion of  texture  not  to  be  denied.  The  whole  face  is  inter- 
preted by  the  most  judicious  use  of  line,  but  always  for  the 
artistic  purpose,  never  for  mechanical  display.  All  that  is 
done  has  for  its  object  either  the  plain  rendering  of  physical 
structure,  or  the  expression  of  character.  Physically,  you 
have  a strikingly  thorough  study  of  bone,  muscle,  and  skin, 
the  last  even  to  its  wrinkles  ; intellectually,  you  have  the 


THE  INTERPRETERS  OF  PAINTING. 


375 


thoughtful  study  of  a thoughtful  face,  with  the  sadness  that 
remained  upon  it  permanently  after  a great  bereavement  I 
can  answer  for  the  likeness ; all  who  remember  Mr.  Mill  in 
his  latter  years  will  recognise  its  extreme  fidelity.  It  is  well 
that  a portrait  at  once  so  artistic  and  so  true  should  preserve 
for  our  descendants  the  features  of  one  of  the  few  famous 
Englishmen  belonging  to  our  age  whom  posterity  is  likely  to 
care  about. 

Rajon.  The  Dutch  Housewife , after  Nicolas  Maes. — The 
original  picture  was  a great  favourite  of  Leslie’s.  In  his 
Handbook  for  Young  Painters , he  says,  “There  are  few 
pictures  in  our  National  Gallery  before  which  I find  myself 
more  often  standing  than  the  very  small  one  by  Maes,  the 
subject  of  which  is  the  scraping  a parsnip.  A decent-looking 
Dutch  housewife  sits  intently  engaged  in  this  operation,  with 
a fine  chubby  child  standing  by  her  side  watching  the  process, 
as  children  will  stand  and  watch  the  most  ordinary  operations, 
with  an  intensity  of  interest  as  if  the  very  existence  of  the 
whole  world  depended  upon  the  exact  manner  in  which  that 
parsnip  was  scraped.  It  is  not  the  colour  and  light  and 
shadow  of  this  charming  little  gem,  superlative  as  they  are, 
that  constitute  its  great  attraction  ; for  a mere  outline  of  it 
would  arrest  attention  amongst  a thousand  subjects  of  its 
class,  and  many  pictures  as  beautiful  in  effect  might  not 
interest  so  much  ; but  it  is  the  delight  at  seeing  a trait  of 
childhood  we  have  often  observed  and  been  amused  with  in 
nature,  for  the  first  time  so  felicitously  given  by  art.” 

I think  Leslie  would  have  been  pleased  with  the  way  in 
which  Rajon  has  interpreted  the  little  picture.  The  etching 
is  charmingly  simple  in  manner  and  very  true  in  light  and 
shade.  There  is  no  strain  or  display  in  it  anywhere.  Great 
artists,  however,  are  great  deceivers,  and  we  should  be  inno- 
cent indeed  if  we  supposed  that  Maes  and  Rajon  were  as 
guileless  as  they  seem.  The  plain  truth  is  that  both  picture 


37^ 


THE  INTERPRETERS  OF  PAINTING. 


and  etching  are  full  of  subtlety  and  cleverness.  The  brilliantly 
etched  jug  to  the  woman’s  right  was  not  set  there  without 
intention  ; it  corresponds  to  the  head  of  the  child,  and  so  makes 
that  of  the  housewife  central.  The  lighting  is  full  of  know- 
ledge. The  absence  of  all  bravura  in  the  treatment  is  in  har- 
mony with  the  homeliness  of  the  subject.  The  plate  was 
published  in  the  ortfolio  for  December  1874. 

Waltner.  L' Angelus,  after  Millet. — I am  sorry  to  have 
to  preface  my  notice  of  this  etcher  with  a word  of  blame,  but 
he  deserves  it  for  bqing  so  unreliable.  When  he  likes,  he  can 
etch  as  well  as  anybody,  but  he  may  at  any  time  produce 
hurried  and  slovenly  work  incredibly  inferior  to  his  best.  I 
must  add  that  he  is  so  very  clever  in  the  use  of  the  dry  point 
and  the  burin  that  he  very  often  resorts  to  them,  so  that  the 
most  delicate  parts  of  his  work  are  engraved  rather  than 
etched ; this,  however,  is  not  an  objection  when  the  burin  work 
is  so  ably  done  that  it  harmonises  with  what  is  bitten. 

In  this  picture  by  Millet  a man  and  woman  are  standing 
near  to  each  other  and  almost  face  to  face  in  a vast  and  per- 
fectly flat  potato-field  with  a level  horizon  high  up  in  the 
picture.  There  is  no  other  landscape  than  this,  except  that 
the  spire  of  a village  church  and  a few  trees  and  buildings  are 
visible  on  the  horizon  at  a distance,  but  they  are  very  small, 
like  the  minute  distances  of  Paul  Potter.  The  man  and 
woman  are  French  peasants  who  have  been  loading  a wheel- 
barrow with  potatoes  ; both  have  left  off  working  for  an 
instant,  and  are  praying,  the  man  with  bowed  head,  the 
woman  with  clasped  hands,  whilst  they  hear  the  village  bell 
tolling  the  Angelus.  It  is  impossible  not  to  feel  the  deep 
sense  of  rustic  devotion  in  this  most  impressive  work.  After 
the  long  day  of  dull  labour  in  that  monotonous  field,  flat  and 
ugly  as  a desert,  these  poor  people  hear  the  sound  of  the 
evening  bell  from  afar  and  forget  their  toil  in  prayer.  The 
etcher  has  entered  quite  heartily  into  the  sincere  and  earnest 


THE  INTERPRETERS  OF  PAINTING. 


377 


spirit  of  the  painter,  and  has  etched  the  picture  with  so  much 
good  taste  and  feeling  that  the  effect  on  the  heart  is  quite 
that  of  the  original  painting  itself,  and  yet  the  slightest 
mechanical  ostentation  would  have  at  once  destroyed  it. 
People  used  to  say  that  etching  was  hard  and  “scratchy” — 
this  plate  is  as  tender  as  a charcoal  drawing,  and  as  true  in  its 
light  and  shade. 

WALTNER.  Dans  la  Rosie,  after  Carolus  Duran. — A nude 
figure  of  a young  girl  which  had  a great  success  in  the  Salon 
of  1874.  This  plate  appeared  in  the  Gazette  des  Beaux  Arts 
for  June  of  that  year.  The  nude,  especially  when  of  such  a 
subject  as  this,  which  requires  the  most  delicate  treatment,  is 
exceedingly  difficult  to  deal  with  in  any  kind  of  engraving. 
Readers  who  are  familiar  with  the  sort  of  prints  which  were 
so  much  admired  in  the  eighteenth  century,  when  a profusion 
of  naked  limbs  of  gods  and  goddesses  were  represented  as 
cushioned  on  rolling  clouds,  will  remember  how  clouds  and 
thighs  were  alike  seized  upon  by  the  engravers  of  those  days 
as  pretexts  for  the  exhibition  of  a certain  skill  in  cutting  clear 
curves  with  the  burin.  Such  treatment  could  never  give  the 
natural  texture,  but  was  a negation  and  destruction  of  it.  In 
the  etching  before  us  M.  Waltner  has  treated  the  nude  with 
the  perception  and  sentiment  of  a painter.  It  is  like  fair 
living  flesh,  and  not  like  the  back  of  a silver  watch  ornamented 
with  eccentric  tooling.  The  outline  is  so  soft  that  the  eye,  in 
trying  to  follow,  is  constantly  losing  and  finding  it.  The 
modelling  is  wonderful,  considering  how  limited  is  the  scale  of 
light  and  dark  where  shadow  itself  is  fair  like  shaded  snow. 
And  yet  the  lights  tell  forcibly  enough  although  there  is  so 
little  shade  to  help  them.  All  the  rounding  of  the  beautiful 
limbs  and  body  is  got  by  very  simple  and  facile  dry-point 
sketching,  aided  perhaps  by  the  burin,  but  if  so  by  the  burin 
used  quite  freely  and  artistically  as  an  etcher  may  fairly 


378 


THE  INTERPRETERS  OF  PAINTING. 


employ  it.*  The  background  of  foliage  and  the  foreground 
of  plants  are  all  bitten,  and  so  is  the  abundant  hair. 

BRUNET-DEBAINES.  Interieur  de  Cour  en  Italie , after 
Decamps. — The  original  picture  belonged  to  the  Wilson  col- 
lection, and  the  etching  was  published  along  with  many  other 
plates  from  that  collection  in  1873.  The  subject  is  simply  a 
picturesque  courtyard,  with  rough  walls,  archways,  and  gal- 
leries to  pass  from  one  house  to  another.  There  were  great 
opportunities,  in  a subject  of  this  kind,  for  Decamps  to  enjoy 
his  singular  powers  of  rendering  rough  textures,  and  also  for 
his  strength  of  light  and  shade.  M.  Brunet-Debaines  has  so 
completely  reproduced  the  manner  of  Decamps  in  his  etching, 
that  any  one  who,  without  knowing  the  original  picture,  knows 
others  of  its  class,  by  the  master,  will  at  once  feel,  after  studying 
this  etching,  that  he  has  seen  the  picture  itself.  Rarely  has 
an  engraver  entered  more  completely  into  the  tastes  and 
qualities  of  the  painter  he  had  to  interpret. 

Brunet-Debaines.  Rtiined  Castle  on  a Lake , after  Al- 
bert Cuyp. — It  is  by  no  means  an  easy  thing  for  a good 
modern  landscape  draughtsman,  such  as  the  etcher  of  this 
picture,  to  go  back  to  the  landscape  of  the  seventeenth  century 
and  throw  himself  into  it  quite  heartily.  The  qualities  of  such 
a painter  as  Cuyp  reside  much  more  in  pictorial  harmonies 
than  in  any  great  knowledge  of  nature.  There  is  so  much  in 
this  picture  which  to  an  educated  modern  must  seem  poor — 
almost  young-lady-like,  if  I may  say  so  without  offending 
both  connoisseurs  and  young  ladies  at  the  same  time — that 
one  may  very  easily  overlook  its  two  great  merits  of  repose 
and  beautiful  lighting.  I was  delighted,  when  the  first  proof 
was  sent  to  me,  with  the  etcher’s  absolute  forgetfulness  of 

* The  burin  has  always  been  considered  a permissible  auxiliary  tool  for  etchers. 
It  is  very  useful  in  that  way,  but,  unless  in  skilful  hands,  dangerous  to  the  harmony 
of  the  work. 


THE  INTERPRETERS  OF  PAINTING. 


379 


himself  and  his  own  knowledge  in  perfect  subordination  to  the 
painter.  This  is  Cuyp  absolutely,  with  his  clear  simple  land- 
scape, inartificial  arrangement,  and  bright  yet  quiet  afternoon 
sunshine.  The  plate  was  published  in  the  Portfolio  for  April 
1874. 

GAUCHEREL.  The  Avenue , Middleharnis , Holland , after 
Hobbema. — A most  successful  rendering  of  the  curiously 
clear,  quaint,  and  stiff  landscape  of  Hobbema,  now  so  much 
in  fashion  both  amongst  artists  and  connoisseurs.  It  is  dif- 
ficult to  point  out  parts  as  especially  worthy  of  commendation, 
but  I mention  with  pleasure  the  remarkably  clear  quality  of 
the  sky  and  the  distance,  not  because  they  are  better  done 
than  the  trees  or  the  road,  but  because  the  risk  of  failure  in 
them  was  much  greater.  ( Portfolio , October  1874.) 

GAUCHEREL.  The  Sun  of  Venice  going  to  Sea , after 
Turner.  — It  is  a matter  of  the  most  extreme  difficulty  to 
translate  Turner  in  etching,  and  it  can  only  be  done  at  all 
by  the  boldest  interpretation  ; yet  it  so  happened  that  all  the 
French  etchers  who  have  hitherto  been  employed  by  the  pro- 
prietors of  the  Portfolio  in  the  National  Gallery  immediately 
became  enthusiastic  admirers  of  Turner,  and  eagerly  desired 
to  etch  after  him.  This  plate  by  M.  Gaucherel  is  not  quite 
accurate  in  details,  and  it  hardly  tries  to  imitate  at  all,  but  it 
conveys,  I think,  a very  good  idea  of  Turner’s  poetical  con- 
ception, and  recalls  the  picture  very  strongly  to  the  memory, 
with  its  emerald  waters,  gaily-coloured  sails,  and  dazzling 
white  distances.  (. Portfolio , November  1874.) 

MONGIN.  HEstafette , after  Meissonier. — A superior 

officer  of  mature  age  is  standing  with  his  back  to  the  fire, 
smoking  his  pipe,  and  holding  in  his  hand  a letter  just  re- 
ceived from  the  estafette,  who  is  standing  opposite — a thin 
man  in  cavalry  uniform,  booted  and  spurred,  with  a carbine 


38° 


THE  INTERPRETERS  OF  PAINTING . 


slung  behind  him.  Between  these  two,  at  a greater  distance 
from  the  spectator,  sits  a younger  officer  in  cavalry  uniform, 
with  his  right  arm  resting  on  a table,  the  hand  holding  his 
pipe,  which  he  forgets  to  smoke  in  his  anxiety  to  guess  from 
the  expression  of  his  superior’s  face  the  nature  of  the  intelli- 
gence just  received.  The  costumes  are  those  of  the  eighteenth 
century,  and  so  is  the  furniture  of  the  room. 

Every  one  knows  with  what  thorough  study  and  accuracy 
of  finish  Meissonier  always  presents  the  details  of  his  figures 
and  their  surroundings,  what  a master  he  is  of  imitation,  and 
how  careful  he  has  generally  been  to  select  subjects  which 
permitted  it.  The  present  work  is  a striking  example  of  the 
painter’s  qualities,  and  a still  more  striking  example  of  the 
closeness  with  which  a skilful  etcher  may  echo  the  work  of  a 
painter,  though  the  echo  is  but  in  black  and  white.  Let  us 
first  do  full  justice  to  M.  Mongin  in  the  much  higher  study  of 
expression,  let  us  not  forget  that  the  faces  are  of  chief  import- 
ance here,  and  that  they  are  rendered  perfectly.  We  have 
the  imperturbable  look  of  the  old  general  who  reads  the  letter 
(you  may  guess  about  as  much  from  his  visage  as  from  his 
pigtail),  the  rather  wearied  and  anxious  look  of  the  younger 
officer,  and  the  half-insensible  but  disciplined  and  military 
profile  of  the  estafette  himself,  who  keeps  up  his  soldierly  air 
though  harassed  by  fatigue  and  want  of  sleep.  This  dramatic 
interest  is,  however,  soon  exhausted,  for  we  are  aware  that  we 
can  never  know  the  contents  of  the  letter  ; if  we  were  in  the 
theatre,  the  actor  would  read  it  aloud  to  us,  but  this  painted 
actor  is  dumb  and  cannot  even  change  his  attitude,  he  must 
stand  for  ever,  as  he  is  standing  now,  with  booted  legs  wide 
apart,  in  the  attitude  of  the  Colossus  of  Rhodes,  and  however 
weary  the  messenger  may  be  he  can  never  quit  this  presence. 
But  such  is  the  nature  of  pictorial  art  that  when  the  interest 
of  the  subject  is  exhausted,  that  of  the  skill  with  which  it 
has  been  represented  remains.  We  follow,  in  imagination, 
the  artist  as  he  works,  and  are  delighted  by  the  triumphs  of 


THE  INTERPRETERS  OF  PAINTING. 


38i 


his  hand.  There  is  plenty  of  such  technical  interest  in  the 
remarkable  plate  before  us.  The  versatility  with  which  the 
etching-needle  is  made  to  imitate  the  appearance  of  different 
substances — marble,  glass,  leather,  wood,  cloth,  fur,  etc. — and 
the  accuracy  of  shading  and  biting  which  gives  their  exact 
relative  values  of  light-and-dark,  are  in  themselves  interest- 
ing to  a student  of  art.  If  the  reader  had  the  plate  before 
him,  he  would  perceive  how  many  different  kinds  of  treat- 
ment the  etcher  has  adopted  to  get  the  different  qualities  of 
things — deep  bitings  and  shallow,  close  lines  and  open,  sharp 
accents  and  soft  shades.  I cannot  see  how  Meissonier’s 
picture  could  have  been  engraved  more  accurately  with  the 
burin  even  as  to  relative  values  of  light-and-dark,  but  I 
know  very  positively  that  no  burin-work  could  ever  have  got 
this  variety  and  truth  of  texture,  nor  could  it  have  followed 
so  closely  the  minute  points  of  drawing  on  which  much  of 
the  fidelity  of  the  translation  into  black  and  white  depends. 

Wise.  The  Triumph  of  Scipio , after  Mantegna. — This 
plate  was  published  in  the  Portfolio  for  January  1874,  and 
was  the  first  of  the  National  Gallery  series.  The  original 
work  is  a tempera  design  in  chiaroscuro — a long  frieze,  of 
which  only  a portion  is  given  in  the  etching.  I mention  it 
here  as  an  instance  of  successful  interpretation.  It  is  not 
really  an  imitation  of  Mantegna’s  work,  but  a bold  and 
powerful  translation  of  it  from  the  language  of  tempera  into 
that  of  a simple  sort  of  etching.  You  see  at  a glance  what  the 
work  is,  for  no  artifice  conceals  the  strokes  of  the  point,  but 
you  would  have  a difficulty  in  guessing  the  exact  nature  of 
Mantegna’s  painting,  if  you  were  not  acquainted  with  it.  In 
spite  of  what  has  been  said  in  the  last  few  pages  about  the 
imitation  of  texture  in  working  from  pictures,  I do  confess 
that  a certain  independence  on  the  part  of  the  etcher  is  by  no 
means  displeasing  to  me.  This  need  not  prevent  him  from 
expressing  the  clearest  understanding  of  the  picture  before  him. 


382 


THE  INTERPRETERS  OF  PAINTING. 


Le  Rat.  Portrait  of  Leonardo  Loredano , Doge  of  Venice , 
after  Giovanni  Bellini. — This  is  an  uncommonly  beautiful 
piece  of  engraving ; but  whether  it  is  quite  fair  to  speak  of  it 
in  a book  on  etching  may  be  doubtful.  Let  us  take  it  as  a 
text  for  a short  sermon  about  the  transition  from  etching  to 
engraving.  The  etcher  has  generally  a burin  or  two  and  a 
few  dry  points  amongst  his  tools,  the  latter,  perhaps,  sharpened 
like  burins  with  triangular  sections  and  cutting  edges.  When 
the  biting  has  not  done  all  that  was  expected  from  it,  the 
artist  may  feel  indisposed  to  take  the  trouble  of  regrounding, 
so  he  wrorks  with  the  burin  a little,  or  a sharp  dry  point  of 
hard  steel.  After  having  done  this  often,  he  insensibly 
acquires  considerable  skill,  and  is  more  and  more  tempted  to 
do  it  again.  Finally  this  engraved  work  covers  so  much  of 
his  plates  that,  as  in  the  present  instance,  it  is  equal  in 
importance  to  the  bitten  work.  Go  a step  farther  still  in 
this  direction  and  you  have  the  acid  employed  merely  to  fix 
a light  design  used  for  guidance,  whilst  the  serious  business 
of  the  performance  is  entrusted  to  the  graver.  Some  etchers 
from  pictures  are  now  going  so  much  in  this  direction  that 
there  is  a chance  of  their  becoming  real  burin-engravers  ulti- 
mately. The  plate  before  us  was  begun  as  an  etching,  and 
then  engraved  upon  till  it  reached  its  present  condition  of 
high  finish.  Let  me  not  be  supposed  to  insinuate  anything 
against  it,  for  it  is  an  exquisite  piece  of  work,  which  ought  to 
have  satisfied  both  the  Doge  and  grand  old  John  Bellini  if 
they  could  have  seen  it.  ( Portfolio , January  1875.) 

JACQUEMART.  Repose , after  Berghem. — This  and  the 
following  plates  by  Jules  Jacquemart  were  published  by 
Messrs.  Colnaghi  in  a series  from  the  Metropolitan  Museum  of 
New  York.  The  artist  prepared  himself  for  this  task  and 
others  of  a similar  character  by  the  study  of  effect  in  etching, 
instead  of  pursuing  his  marvellously  successful  studies  of  form 
and  texture  in  objects  of  still  life.  I well  remember  that 


THE  INTERPRETERS  OF  PAINTING.  383 


when  this  transformation  began  Jacquemart  sent  me  a cer- 
tain attempt  in  his  new  direction,  which  convinced  me  that  he 
was  what  Mr.  Ruskin  would  .call  “a  lost  mind,”  and  that 
those  terrible  words  about  an  English  artist  were  applicable 
even  unto  him  — “The  change  in  his  manner  is  not  merely 
Fall — it  is  Catastrophe ; not  merely  a loss  of  power,  but  a 
reversal  of  principle : his  excellence  has  been  effaced,  ‘ as  a 
man  wipeth  a dish,  wiping  it  and  turning  it  upside  down.’  ” 

Meanwhile  Jacquemart  worked  on  in  his  new  manner, 
and  the  end  and  outcome  of  it  was  that  he  became  able  to 
etch  very  well  from  pictures.  I am  not  sure  that  the  world 
is  altogether  a gainer  by  the  change,  for  this  artist’s  original 
etchings  from  beautiful  or  precious  objects  of  still-life  were 
what  nobody  but  himself  could  do  ; whereas,  however  well  he 
may  interpret  a picture  there  are  several  other  men  in  Europe 
who  can  do  as  much.  One  or  two  of  his  plates  are  certainly 
very  superlative  work,  but  a good  many  others  do  not  rise 
above  the  ordinary  level  of  professional  production.  We 
have,  therefore,  by  this  change,  lost  an  artist  of  singular 
genius,  to  enrich  by  the  addition  of  a single  name  the  list  of 
clever  men  who  can  translate  pictures  in  an  accomplished 
professional  way. 

This  plate  after  Berghem  is,  however,  very  far  from  being 
commonplace.  I had  not  supposed,  when  it  appeared,  that 
etching  could  go  so  far  as  this  in  the  imitation  of  a painter’s 
manner,  and  the  peculiar  success  of  it  opened  to  me  a most 
interesting  field  of  speculation  and  of  hope.  Photography  in 
its  various  forms  renders  touch  with  admirable  fidelity,  but 
then  it  is  grossly  unfaithful  in  the  interpretation  of  colour  by 
light-and-dark,  and  produces  the  wildest  confusion  by  this 
unfaithfulness,  even  in  light-and-shade  itself.  On  the  other 
hand,  line-engraving  cannot  at  all  render  the  touch  of  the 
picturesque  painters ; it  is  perfectly  suited  to  the  interpretation 
of  the  classical  schools,  but  just  as  ill  adapted  to  the  more 
informal  manner  of  modern  naturalism.  The  burin  requires 


384  THE  INTERPRETERS  OF  PAINTING. 


tranquil  spaces,  the  etching-needle  can  easily  follow  broken 
surfaces  and  ragged  outlines.  This  we  knew,  but  the  novel 
element  in  this  plate  from  Berghem  is  the  successful  imitation 
of  luminous  quality  in  the  touches.  In  work  of  this  kind  the 
touches  glisten  like  dewdrops  ; they  are  not  paint,  but  an 
artful  assemblage  of  jewels.  I wonder  what  Jacquemart 
would  make  of  the  glitter  in  a dewy  Constable  ; he  would 
give  it,  I believe,  with  an  unprecedented  fidelity.  Another 
reflection  which  occurs  is,  whether  Berghem  could  have  etched 
his  own  picture  in  this  rich  pictorial  manner.  We  know 
what  his  manner  was  in  his  etchings — brilliant  enough,  but 
neither  pictorial  nor  rich. 

A close  examination  of  the  workmanship  in  this  plate 
reveals  so  much  of  its  secret  as  is  dependent  on  method 
merely,  and  not  on  sensitive  interpretation.  The  lines  are 
never  laid  without  great  care  for  their  tonic  value ; and  so 
soon  as  any  line,  however  short,  however  apparently  necessary 
to  the  delineation  of  form,  would  interfere  in  the  least  with 
the  tonic  value  of  the  painter’s  touch,  it  is  suddenly  abandoned, 
and  an  empty  space  left  to  tell  the  rest  of  its  story.  Treat- 
ment of  this  kind  is  as  consummate,  technically,  as  etching 
can  be.  The  line  is  used  quite  frankly  everywhere,  and  there 
is  no  attempt  to  hide  it ; but,  on  the  other  hand,  the  artist  is 
never  carried  away  by  it,  not  even  to  the  extent  of  the  thou- 
sandth of  an  inch.  The  entire  absence  of  that  tightness  of 
manner  which  very  young  artists  often  take  for  delicacy  of 
drawing,  may  possibly  incline  some  of  them  to  pass  by  this 
work  slightingly,  as  a careless  sketch  of  landscape.  Any  one 
of  that  opinion  is  invited,  with  due  respect,  just  to  copy  the 
face  of  the  woman  on  its  own  scale. 

Jacquemart.  The  Moerdyck , after  Van  Goyen. — The 
sort  of  subject  which  Zeeman  would  have  etched  in  his  quaint 
dry  way,  and  it  is  highly  interesting  to  observe  the  effects  of 
Jacquemart’s  wider  experience.  Zeeman  evidently  enjoyed 


THE  INTERPRETERS  OF  TAINTING.  385 


light,  and  space,  and  movement ; but  he  had  no  richness,  no 
unction,  if  I may  use  the  word,  nor  did  he  understand  fine 
arrangements  of  chiaroscuro.  This  etching  from  Van  Goyen 
scarcely  contains  more  lines,  if  they  were  counted,  than  one  of 
Zeeman’s  plates,  and  yet  the  difference  of  arrangement  and 
of  manner  makes  this  plate  opulent  and  glowing.  An  ignorant 
etcher  would  have  given  a month  of  useless  labour  without 
getting  either  the  light  or  the  movement  of  these  rolling 
clouds,  or  the  smoothness  of  this  calm  water.  There  is  nothing 
here  but  the  bare  etched  line,  as  frank  as  possible  everywhere, 
and  yet  the  varied  employment  of  it,  to  any  cultivated  spec- 
tator, suggests  everything  of  the  picture  but  its  colour. 

Though  this  is  a merit  of  the  painter’s,  let  me  add  that  the 
composition  of  this  sea-piece  is  as  subtle  and  cunning  as  the 
composition  of  a simple  subject  possibly  can  be.  The  concen- 
tration of  light  in  the  middle,  by  the  golden  cumulus  and  its 
reflection,  the  indication  of  perspective  by  the  two  lantern- 
poles  on  the  sandbanks,  brought  purposely  near  in  the  picture, 
and  contrasted  in  their  leaning,  the  arrangement  of  the  ships 
and  boats,  all  in  pairs  (a  common  practice  with  Turner  also, 
but  not,  as  we  see,  invented  by  him)  ; the  smoke  on  the  distant 
sandbank  and  its  reflection  marrying  earth  to  heaven  and 
water  by  a little  central  cloud — all  these  things,  and  more 
that  I have  not  space  to  enumerate,  prove  the  most  thoughtful 
artistic  intention.  Even  the  cannon-smoke  from  the  ships  of 
war  has  its  pictorial  purpose  ; it  gives  clouds  close  to  the 
water,  and  these  clouds  help  the  light,  for  that  against  the 
focus  of  the  picture  is  very  much  lighter  than  the  other. 

JACQUEMART.  Interior  of  a Dutch  Cottage,  liter  Willem 
Kalf. — At  the  first  glance,  a critic  half  experienced  in  etching 
might  fancy  that  this  plate  had  been  very  imperfectly  bitten, 
and  that  the  etcher  could  not  draw  things  clearly ; but  he 
would  be  much  mistaken,  for  it  is  one  of  the  cleverest  in  the 
whole  set.  The  subject  is  the  obscure  interior  of  a cottage, 

2 C 


386 


THE  INTERPRETERS  OF  PAINTING. 


with  an  effect  of  dull  daylight  through  an  unseen  aperture  of 
some  kind.  The  play  of  imperfect  light,  the  passage  from 
light  to  obscurity,  have  been  rendered  by  the  painter  with 
great  care,  and  the  one  effort  of  the  etcher  has  been  to  make 
things  clear  just  to  the  degree  which  the  painter  intended,  and 
no  farther.  On  the  part  of  Jules  Jacquemart  this  must  have 
needed  especial  self-denial,  for  it  so  happens  that  there  are 
many  things  in  this  picture  which,  if  left  to  himself,  he  would 
have  drawn  far  more  brilliantly  than  the  painter.  To  publish 
an  etching  of  this  kind  is  certainly  a very  high  compliment  to 
the  art-culture  of  this  generation,  as  it  is  rather  strong  meat 
for  babes  ; but  we  are  bound  to  praise  the  forgetfulness  of 
self  and  the  simplicity  of  purpose  in  faithful  interpretation  of 
the  picture,  which  are  evident  throughout  this  work.  An 
uneducated  public  would  see  nothing  in  it — would  not  even  be 
able  to  make  out  the  objects  which  are  indicated  by  chiaro- 
scuro simply  without  any  explanatory  design,  a touch  of  light, 
a patch  of  shade,  a half-light,  and  a reflection.  What  is  the 
woman  doing  ? I know,  but  leave  the  reader  to  amuse  himself 
by  guessing,  with  the  observation  that  all  northern  readers 
will  inevitably  guess  wrong. 

Jacquemart.  Portrait  of  a Young  Woman , after  Lucas 
Cranach  the  Younger. — A very  faithful  and  beautiful  imita- 
tion of  a quaint  portrait  in  the  costume  of  the  sixteenth 
century,  with  a rich  coif  and  necklace  and  a veil.  There  is  an 
infinity  of  exquisite  work  in  this  etching,  not  only  in  the 
richly-patterned  dress  and  background,  but  in  the  delicate 
pale  shading  of  the  flesh — a delicacy  which  adds  much  to  the 
force  of  the  fine  dark  eyes  and  eyebrows.  The  face  has  a 
serene,  grave  beauty  of  a very  original  type,  and  the  expres- 
sion conveys  a mixture  of  tranquillity  and  firmness,  implying 
eminent  domestic  qualities.  Beautiful  as  it  is,  however,  this 
plate  may  be  taken  rather  as  an  example  of  the  versatility  of 
etching  than  of  its  especial  liberty  and  power.  It  is  im- 


THE  INTERPRETERS  OF  PAINTING. 


387 


possible,  and  it  would  be  wrong  if  it  were  possible,  to  interpret 
a severe  and  primitive  painting  like  this  with  the  go  which 
would  be  quite  appropriate  for  an  artist  like  Frank  Hals. 
Jacquemart’ s merit  here  has  been  to  enter  thoroughly  into 
the  spirit  of  his  original,  and  to  bring  to  his  work  a delicacy 
and  right  patience  answering  accurately  to  the  feeling  and 
character  of  Lucas  Cranach  himself. 

JACQUEMART.  Elisabeth  de  Valois , Reine  cCEspagne , 
after  Sir  Antonio  Moro. — This  was  one  of  the  most  important 
plates  in  the  series  from  the  Wilson  collection.  It  is  men- 
tioned here  for  an  especial  reason.  Elisabeth  de  Yalois  was 
dressed  as  magnificently  as  possible  when  she  was  painted, 
her  costume  was  covered  with  embroidery  and  jewels.  Here 
then  we  have  a complicated  and  not  uninteresting  study  of 
still-life,  for  the  queen  with  her  plain  face  and  quiet  pose  is 
really  little  more  than  a lay  figure  to  carry  all  this  etalage  of 
satin  and  countless  pearls  big  and  little,  with  great  square 
gems  of  ruby,  sapphire,  or  emerald,  an  amazing  elaboration  of 
royal  finery.  Jacquemart  feels  perfectly  at  ease  amongst  it 
all,  nay  even  enjoys  it,  instead  of  losing  patience,  as  many 
would.  He  studies  every  separate  pearl  with  its  own  light 
and  shade  and  reflection,  he  gives  the  sheen  of  satin  and  the 
infinite  details  of  the  majestic  millinery ; for  such  study  as 
this  is  half  a return  to  the  labours  of  his  earlier  manhood. 

UNGER.  Jeune  Couple  dans  leur  Salon , after  Gonzales 
Coques. — Before  considering  this  particular  piece  of  work  let 
me  make  a few  general  observations  about  William  Unger’s 
talent.  It  is  difficult,  in  an  age  which  has  produced  half-a- 
dozen  artist  engravers  of  the  very  highest  rank,  to  say  which 
of  them  is  king ; but  if  any  critic  were  to  give  the  supreme 
station  to  Unger  he  might  maintain  his  decision  by  the  argu- 
ment that  this  artist  has  etched  more  plates  of  uniformly  good 
quality  than  any  one  else,  whilst  a few  of  his  finest  works* 


388 


THE  INTERPRETERS  OF  PAINTING. 


taken  separately,  will  bear  comparison  with  the  finest  of  those 
other  distinguished  interpreters  of  pictures  whom  we  have 
already  studied  in  this  chapter.  In  one  power  he  certainly 
surpasses  every  one  of  them,  namely,  in  the  critic’s  gift  of 
sympathy  with  very  different  kinds  of  talent.  It  does  not  in 
the  least  signify  what  an  original  artist,  who  never  translates 
the  work  of  other  men,  and  who  never  writes  about  it,  may 
think  of  his  rivals  in  this  or  any  other  age.  The  reader  would 
be  much  astonished  if  he  could  learn  how  much  ignorance  and 
prejudice  are  perfectly  compatible  with  a successful  artistic 
career.  But  when  an  artist  undertakes  to  interpret  the  work 
of  many  who  differed  in  mental  faculty  and  in  technical 
training,  both  from  himself  and  from  each  other,  he  must 
either  enter  heartily  into  their  ways  of  thought  or  else  grossly 
misrepresent  them.  He  then  requires  that  rare  gift  of  a good 
critic  which  enables  him  to  enjoy  opposite  kinds  of  work,  and 
to  admire  them  with  such  perfect  sympathy  that  for  the  time 
being  each  may  appear  right  and  sufficing  in  its  own  order. 
Unger  has  this  in  perfection.  I will  answer  for  it  that  he 
must  be  a very  delicate  and  discerning  critic  of  painting,  that 
his  intelligence  must  be  comprehensive  and  his  appreciation 
just.  The  mass  of  his  etchings,  taken  together,  are,  in  fact, 
a commentary  on  many  great  painters,  which,  instead  of  being 
written  out  in  words,  is  drawn  on  copper  with  the  point. 
Throughout  it  Unger  speaks  to  us  as  clearly  about  the 
pictures  as  Vosmaer,  the  distinguished  critic,  when  he  writes 
Dutch  or  French.  To  possess  these  etchings  is  much  less,  no 
doubt,  in  a general  sense,  than  to  possess  the  original  pictures, 
but  there  is  a certain  special,  yet  very  intelligible,  sense  in 
which  it  is  somewhat  more.  We  have  here  much  of  the 
painter,  but  not  all ; we  have  also  something  in  addition,  and 
that  is  the  intelligent  explanation  and  commentary  of  an 
observer  who  well  knows  what  is  admirable,  and  what  is 
personal  and  peculiar,  in  the  executive  expression  of  the  great 
painters  whom  he  interprets. 


THE  INTERPRETERS  OF  PAINTING.  389 


The  picture  before  us,  one  of  the  most  charming  and 
interesting  representations  of  domestic  life  in  the  seventeenth 
century  which  have  been  handed  down  to  us,  represents  a 
young  gentleman  and  his  wife  in  their  small  but  tastefully 
arranged  drawing-room.  The  walls  are  covered  with  tapestry 
to  the  height  of  the  door,  and  above  the  tapestry  are  hung 
Dutch  landscapes,  rather  too  high  to  be  studied,  but  good  as 
panels  for  the  decoration  of  the  room.  The  lady  is  standing 
at  her  open  clavichord,  the  lid  of  which  shows  on  the  inside  a 
sylvan  landscape  with  musicians.  The  gentleman  is  gravely 
seated  by  the  table  turning  the  leaves  of  a book.  On  the 
table  are  a globe,  a statuette,  and  an  hour-glass.  There  is  an 
indescribably  charming  air  of  learning,  discretion,  and  artistic 
taste  in  the  whole  scene.  It  seems  to  us  that  life  must  have 
had  true  dignity,  peace,  and  sweetness  under  these  conditions. 
And  now  please  observe  how  absolutely  Unger  throws  him- 
self into  this  grave  and  quiet  temper,  and  with  what  unhurried 
sobriety  every  touch  is  laid ! We  shall  see  him  in  other 
tempers  before  we  leave  him* 

UNGER.  Pay  sage  Montagneux , after  Rembrandt. — This  is 
one  of  the  most  complete  of  Rembrandt’s  landscapes,  and  a 
very  fine  and  majestic  composition  it  is.  There  is  a river  in 
the  foreground  with  a windmill  to  the  right,  a bridge  of  one 
arch  crosses  the  river,  and  a horseman  is  riding  towards  the 
bridge.  In  the  distance  is  a hilly  country  with  trees  and 
some  ruins. 

* So  far  as  we  may  judge  by  the  etcher’s  portrait  of  himself  on  the  title-page, 
which  by  the  way  is  one  of  the  most  consummate  bits  of  free  etching  produced  in 
modern  times,  it  appears  as  if  his  own  personal  feeling  were  not  only  very  dif- 
ferent from  that  of  the  etching  described  in  the  text,  but  even  strongly  opposed  to 
it.  Unger’s  own  manner  would  be  light,  facile,  and  intelligent  almost  to  excess, 
but  by  no  means  distinguished  for  gravity  or  sobriety.  That  portrait  of  himself  is 
done  in  an  excellent  spirit  for  an  etcher.  The  drawing  is  sound  and  strong,  with- 
out the  least  trace  of  any  sort  of  pedantry,  and  the  ease  of  it,  which  is  the  result 
of  real  power  and  knowledge,  is  truly  marvellous. 


39° 


THE  INTERPRETERS  OF  PAINTING. 


The  study  of  minute  detail  which  prevailed  in  the  Eng- 
lish school  some  years  ago  is  likely  to  make  us  undervalue 
the  qualities  of  such  landscape-design  as  this,  which  relies 
entirely  upon  mass  ; but  if  the  reader  takes  delight  in  the 
fine  artistic  arrangement  of  masses  he  will  enjoy  this  land- 
scape much,  and  be  very  thankful  to  Unger  for  the  quiet  truth 
of  tone  with  which  he  has  rendered  it.  The  picture  would 
not  be  difficult  to  copy  in  charcoal  or  sepia,  but  it  must  have 
been  extremely  difficult  to  etch,  for  it  all  depends  upon  tonic 
relations,  and  if  they  had  gone  wrong  in  the  biting  the  plate 
would  have  been  without  meaning,  for  it  has  no  strong 
expressive  lines  to  help  it.  Unger  has  rendered  it  in  the 
most  unobtrusive  way,  and  all  has  come  just  quietly  right, 
even  to  the  palest  tints  of  the  distance  and  the  sky.  How 
grandly  Rembrandt  has  placed  his  ruin  and  supported  it ! 

UNGER.  Buste  de  Femme , after  Rembrandt. — The  lady 
shows  one  hand,  her  left,  which  is  gloved  and  holds  a flower. 
She  wears  a necklace  of  large  pearls. 

This  is  not  one  of  the  most  striking  plates  in  the  series, 
but  it  is  assuredly  one  of  the  most  perfect.  The  face  is 
treated  with  the  greatest  delicacy,  and  yet  with  consummate 
ease.  Observe  the  thoroughness  of  the  skill  and  knowledge 
with  which  the  reflections  are  reserved.  The  texture  has  the 
softness  of  flesh,  and  that  of  the  costume  and  background  is 
vigorously  opposed  to  it.  Unger  has  entered  so  well  into 
Rembrandt’s  spirit  that  we  recognise  the  great  master  at  a 
glance. 

The  eyes  of  this  portrait  are  charming  in  their  softness. 
I think  Unger  has  made  the  hair  a little  too  wiry  and  coarse, 
but  the  coarseness  of  texture  in  the  dress  is  very  valuable. 
The  glove  is  inevitably  ugly,  for  in  those  days  nobody 
thought  of  such  a thing  as  a glove  that  would  fit  the  hand. 

UNGER.  Le  Dotmeur , after  A.  Van  Ostade. — A cobbler 
is  sitting  asleep  in  a little  corner  close  to  a wooden  partition. 


THE  INTERPRETERS  OF  PAINTING.  391 


He  rests  his  head  on  his  left  hand,  and  has  a very  happy 
look  on  his  face  as  if  his  dreams  were  pleasant  Perhaps  a 
pot  of  beer  may  have  aided  in  procuring  this  felicity. 

The  etching  is  very  remarkable  for  its  spirit  of  independ- 
ence. It  does  not  look  as  if  it  had  been  done  from  a picture 
at  all,  but  quite  conveys  the  impression  of  a fresh  and  spon- 
taneous invention  of  the  etcher  himself.  Considered  on  its 
own  merits  it  is  one  of  the  very  best  etchings  I ever  saw ; the 
work  is  so  straightforward,  simple,  and  expressive. 

UNGER.  Eau  Calme , after  Willem  Van  de  Velde  the 
younger. — The  painter  of  this  picture,  which  is  now  in  the 
gallery  of  Cassel,  was  only  twenty  years  old  when  he  exe- 
cuted it,  but  few  artists,  however  experienced,  have  so  com- 
pletely rendered  the  spirit  of  a scene.  I mention  it  here, 
however,  chiefly  to  direct  attention  to  the  excessive  delicacy 
and  self-restraint  of  the  etcher  in  his  interpretation  of  it. 
There  is  no  attempt  to  copy  the  palest  tones,  but  they  are 
just  hinted  at,  and  we  imagine  them.  The  picture  is  in  a 
very  high  key,  a very  light  sky  is  reflected  in  calm  water,  and 
white  sails  come  against  this  in  full  sunshine.  The  only 
darks  are  the  hulls  of  the  vessels.  Unger  has  contented  him- 
self with  making  us  understand  how  light  are  the  prevailing 
tones,  giving  the  forms  of  cloud  and  sail  by  drawing  of 
ineffable  delicacy  almost  without  shading.  I strongly 
approve  of  the  judgment  and  taste  with  which  this  has  been 
done.  We  feel  the  light  that  there  is  in  the  picture  much 
more  by  this  treatment  than  if  an  attempt  had  been  made  to 
render  the  pale  tones  quite  accurately,  supposing  (what  is 
very  probable)  that  they  would  have  been  a little  put  wrong 
in  the  biting.  The  fact  is  that  this  etching  is  a masterpiece, 
and  one  of  a very  peculiar  kind,  which  some  younger  etchers 
who  are  breaking  their  hearts  in  struggles  after  perfect  tonic 
accuracy  would  do  well  to  study.  Such  work  as  this  saves 
health  and  eyesight  by  intelligence. 


392 


THE  INTERPRETERS  OF  PAINTING . 


Unger.  Portrait  d' Homme,  after  Tintoret. — This  is  the 
portrait  of  a young  Venetian  nobleman,  perhaps  twenty-seven 
years  old,  or  so,  but  nothing  seems  to  be  known  about  the 
original  except  what  may  be  gathered  from  the  picture  itself. 

It  is  one  of  the  grandest  and  most  impressive  portraits  in 
existence.  The  dark  face — of  the  deepest  Italian  complexion 
already,  and  looking  like  bronze  when  set  upon  that  large 
white  frill — is  high  up  in  the  corner  of  the  canvas  to  your 
right  The  left  hand  of  the  portrait  is  hanging  by  his  side, 
gauntletted  in  a great  leather  glove ; the  other,  also  gloved,  is 
placed  upon  a table.  The  costume  is  that  of  the  sixteenth 
century,  but  dark,  grave,  and  without  an  ornament.  The 
attitude  is  erect  and  soldierly,  but  the  main  power  of  the 
work  lies  in  the  expression  of  the  face.  The  eyes  are  like 
coals  of  fire.  It  may  be  doubted  whether  such  another  pair 
of  eyes  exists  in  all  the  world  of  painting.  When  once  they 
have  looked  at  you,  no  farther  explanation  of  the  man’s  cha- 
racter is  necessary.  There  are  portraits  of  the  thoughtful  and 
melancholy  kind,  which  have  awakened  an  unceasing  curi- 
osity, but  this  would  excite  fear  in  a timid  person,  and  resist- 
ance in  a bold  one.  What  a haughty  scrutiny  there  is  in  that 
glance,  and  in  those  lips  what  iron  resolution  ! This  young 
lord  of  Venice,  whoever  he  may  have  been,  was  one  whose 
passion  a woman  might  dread,  and  whose  enmity  a brave 
man  might  think  twice  before  incurring.  Laws  and  civilisa- 
tion have  in  our  days  so  quelled  the  fire  of  individual  natures 
that  we  can  hardly  realise  the  time  when  passionate  men 
were  as  dangerous  as  volcanoes;  but  there  are  a hundred  such 
in  Italian  history,  who  were  not  better  neighbours  than 
Vesuvius. 

Meanwhile  we  have  forgotten  Herr  Unger,  simply  because 
he  has  done  his  work  so  well.  Only  one  thing  needs  to  be 
said  specially  about  the  etching,  and  it  is  this. — Some  plates 
can  produce  their  effect  on  the  mind  with  little  tone,  but  this 
one  positively  needed  the  darkness  of  the  costume,  and  the 


THE  INTERPRETERS  OF  PAINTING. 


6 93 


darkness  of  the  face ; the  impression  on  the  mind  is  partly 
due  to  it. 

UNGER.  Portrait  Pun  Chanoine , after  Antonis  Mor  Van 
Dashorst. — This  is  one  of  the  finest  of  the  serious  portraits  in 
Unger’s  portfolios.  It  is  almost  entirely  in  dark  tones,  and 
the  etcher  has  not  succumbed  to  the  temptation  of  enlivening 
them  by  sparkle  here  and  there,  as  a common  engraver  would 
certainly  have  done  with  such  a piece  of  work  before  him. 
The  dignity  and  sobriety  both  of  the  original  painting  and 
the  reproduction  are,  in  their  way,  beyond  praise.  There  are 
no  touches  of  light  even  on  the  eyes,  and  the  small  frills 
about  the  neck  and  wrists  are  so  much  shaded  that  they  do 
scarcely  anything  to  relieve  the  general  gravity  of  tone.  The 
canon’s  countenance  has  the  same  gravity  and  seriousness, 
but  without  any  hard  severity.  He  looks  charitable,  but  not 
inclined  to  familiarity.  Charitas  habenda  est  ad  omnes , sed 
familiaritas  non  expedit. 

Unger.  Hail ’ Fidelity  ! also  designated  Sir  Ramp  and 
his  Mistress , after  Franz  Hals. — A more  striking  contrast  in 
both  temper  and  execution  than  that  between  the  picture 
just  criticised  and  this  one  could  not  be  imagined.  From 
dignity  and  sobriety  to  their  exact  opposites  seems  a distance 
not  easily  to  be  traversed  ; yet  as  Unger  could  be  grave  with 
the  learned  canon  of  Antonis  Mor,  so  he  can  be  jolly  with  this 
merry  gentleman  of  Franz  Hals.  It  is  not  simply  that  the 
faces  here  are  gay,  whereas  the  other  was  serious,  but  the  very 
touch  of  the  point  is  changed.  Hals  had  great  dash  and 
decision  in  his  handling,  and  a peculiar  sort  of  flickering 
brilliancy,  which  was  due  to  his  way  of  rendering  surfaces 
whenever  he  could  by  facets,  and  to  his  excessive  taste  for 
strong  accents.  It  was  essentially  a vulgar  conception  of 
form  and  surface,  but  it  had  much — too  much — vivacity.  In 
this  vivacity  the  technical  manner  of  Hals  corresponded 


394 


THE  INTERPRETERS  OF  PAINTING. 


admirably  with  the  sort  of  subject  which  he  generally  pre- 
ferred ; so  that  he  had  one  of  the  greatest  merits  an  artist  can 
have,  namely,  a perfect  harmony  between  mind-work  and 
hand-work.  The  painting  here  is  full  of  dash  and  go.  The 
subject  of  the  picture  is  a roystering  blade  in  the  height  of  a 
merry  hour,  his  glass  raised  high,  his  face  beaming  with 
laughter  and  the  spirit  of  loud  jollity,  whilst  nestling  under 
the  huge  plume  of  his  prodigious  hat  is  the  merry  visage  of  a 
woman,  not  pretty  certainly,  but  able,  as  it  seems,  to  enter 
into  the  gentleman’s  frame  of  mind.  The  most  respectable 
personage  here  is  the  dog  whose  head  appears  in  the  corner. 

This  is  the  sort  of  life  which  Franz  Hals  lived,  and  this  is 
how  he  painted  it.  Anything  more  spirited  than  Unger’s 
translation  of  the  picture  it  is  impossible  to  imagine.  All  the 
life  and  vigour  of  Hals  are  reproduced  in  it. 

UNGER.  Franz  Hals  arid  Lysbeth  Reyniers , his  second 
wife , after  Franz  Hals. — This  is  quite  mild  and  respectable  in 
comparison  with  the  other,  but  there  is  merriment  here  too. 
The  painter  is  seated  under  a tree  in  a garden  with  his  wife. 
Both  are  laughing  heartily,  and  she  has  her  hand  affectionately 
on  his  shoulder.  The  absence  of  a wine-glass  seems  an 
unaccountable  omission.  Let  us  hope  that  the  artist  has 
inward  satisfactions  arising  from  recent  and  sufficient  potations. 
He  looks  as  if  he  had. 

Both  Mr.  and  Mrs.  Hals  are  most  respectably  dressed  in 
black  cloth  and  black  silk,  and  their  linen  is  elaborately  got 
up — not  a little  matter  in  those  days  of  huge  frills,  and  cuffs, 
and  collars.  I mention  the  etching  chiefly  for  the  ease  and 
simplicity  of  its  execution. 

Unger.  The  Governors  of  the  Asylum  for  Old  Men  in 
1664,  by  Franz  Hals. — In  this  picture  the  artist  does  all  he 
can  to  be  serious,  yet  nevertheless  puts  a twinkle  of  merriment 
into  the  face  of  an  old  man  in  the  background,  as  if  he  were 
irreverentially  laughing  at  the  worthy  Governors. 


THE  INTERPRETERS  OF  PAINTING. 


395 


The  execution  of  this  etching  is  an  extreme  instance  of  a 
sort  of  work  which  Unger  resorts  to,  particularly  in  interpret- 
ing Hals,  but  which,  considered  in  itself,  is  not  to  be  much 
commended.  The  whole  of  this  work  is  in  facets,  and  each 
facet  is  shaded  flat  Here  there  are  four  distinct  tints  of  flat 
shade,  but  no  gradations.  The  love  of  angles  and  facets  is 
carried  to  an  extraordinary  excess  in  the  badly-fitting  gloves, 
All  this  may  be  an  accurate  imitation  of  a strong  mannerism 
in  the  painter,  but  it  would  be  a very  bad  mannerism  in  any 
etcher  who  adopted  it  as  a style  of  his  own. 

UNGER.  Cephaleet  Procris , after  a picture  supposed  to  be 
by  Guido  Reni. — It  is  the  closing  scene  of  the  legend.  Procris 
is  lying  wounded  in  the  forest,  and  Cephalus  is  touching  the 
fatal  dart  as  if  about  to  remove  it. 

I have  selected  this  plate  as  a proof  that  Unger  is  not 
bound  down  to  the  objectionable  manner  adopted  in  the  one 
last  mentioned.  This  picture,  whoever  painted  it,  is  done  in 
the  mature  Italian  style,  with  full  rounded  forms,  a great  deal 
of  modelling,  and  (of  course)  a thorough  study  of  gradation. 
The  landscape  is  rich  and  quiet,  and  put  in  with  very  fine 
taste  indeed.  No  one  could  guess  that  the  same  etcher  had 
executed  this  plate  and  those  from  Franz  Hals;  and  I do  not 
believe  that  there  is  another  engraver  in  the  world  who  has, 
to  anything  like  the  same  marvellous  degree,  the  faculty  of 
adopting  at  will  styles  which  are  not  only  unlike  each  other, 
but  as  strongly  opposed  as  possible.  Observe  the  careful 
study  of  flesh  and  the  consistent  preservation  of  local  colour 
in  the  fair  woman  and  the  dark  man,  without  loss  of  modelling 
in  either. 

UNGER.  Les  Quatre  V aches,  after  Paul  Potter. — This 
plate  is  not  very  striking  at  first  sight,  and  the  reader  may 
easily  pass  it  by  when  he  first  turns  over  the  etchings  of 
Unger,  for  it  is  neither  black  nor  powerful.  Nevertheless,  it 
is  a singularly  excellent  example  of  a true  etcher’s  way  of 


39 6 THE  INTERPRETERS  OF  PAINTING. 

interpreting  rather  than  imitating  a picture ; and  I suspect 
that  Unger  himself  must  have  been  fully  aware  of  its  merits, 
for  I see  that  he  has  (very  allowably)  put  his  signature  con- 
spicuously in  the  upper  corner  to  correspond  with  that  of 
“ Paulus  Potter  ” in  the  lower.  Potter  was  a mere  boy  (only 
nineteen)  when  he  painted  the  picture,  and  there  is  really  not 
very  much  refinement  of  drawing  about  it ; but  it  is  easier  in 
manner  than  the  work  of  young  men  usually  is,  for  there  is 
not  the  least  strain  or  tightness.  This  facility  has  been 
rendered  very  happily  by  a corresponding  facility  in  the 
etcher ; indeed  it  is  a better  etching  than  Potter  would 
himself  have  made ‘of  the  same  subject,  for  he  was  always 
rather  hard  in  manner  as  an  etcher,  though  he  drew  well  and 
distinctly.  If  the  reader  has  access  to  the  plate,  let  him 
observe  the  admirably  slight  treatment  of  the  sky,  on  which 
no  vain  effort  has  been  wasted,  and  the  open  work  of  the 
foreground. 

There  is  a great  deal  of  artist-craft  both  in  Potter’s 
management  of  this  very  simple  material  and  Unger’s  inter- 
pretation of  it.  P'our  cows,  a little  old  tree,  a bit  of  fence,  a 
little  common  rough  pasture  ground,  and  in  the  distance  a 
tree  or  two,  such  as  you  may  find  anywhere — this  is  all ; 
and  yet  out  of  these  materials  the  young  Dutch  genius  con- 
structed a picture  which  is  a picture,  and  not  a mere  study  as 
so  many  are.  He  knew  how  to  make  the  most  of  his  material. 
Such  a work  as  this  ought  to  be  a consolation  to  artists  who 
live  in  unpicturesque  localities.  The  materials  of  art  are 
everywhere,  the  makers  of  art  are  not  so  common.* 

* A few  wards  of  praise  are  due  to  the  spirited  publisher,  Mr.  Sijthoff  of  Ley- 
den, for  the  manner  in  which  these  etchings  of  Unger  have  been  published.  They 
are  printed  on  fine  Dutch  paper,  and  mounted  (pasted  by  the  upper  edge  only)  on 
sufficiently  good  boards,  in  such  a manner  as  to  enter  into  the  most  carefully 
arranged  collections  without  farther  change.  They  are  accompanied  by  a text 
printed  with  the  greatest  taste  on  very  fine  Dutch  paper.  The  only  objection  I 
have  to  make  to  the  publishing  of  the  set  from  old  masters  is  that  there  is  a diffi- 
culty of  reference.  The  plates  are  numbered,  it  is  true,  in  the  corner  of  the 
boards,  but  there  is  no  corresponding  number  in  the  printed  text,  so  that  the  title 


THE  INTERPRETERS  OF  PAINTING. 


397 


of  the  plate  is  not  readily  found.  In  the  other  publication  from  Franz  Hals,  this 
is  managed  better.  The  title  is  well  printed  in  red  ink  on  a fly-sheet  which 
accompanies  each  etching.  I observe  that  Mr.  Sijthoff  has  three  classes  of  impres- 
sions of  the  Hals  series — artist’s  proofs  on  old  Dutch  or  India,  selected  proofs  on 
India  paper,  and  prints,  which  put  the  price  of  each  etching  at  7s.,  4s.  6d.,  and 
2s.  6d.,  respectively.  On  the  other  hand,  the  series  after  various  old  masters  is 
printed  in  one  class  of  proofs  only,  and  issued  at  a price  which  puts  them  at  rather 
less  than  2s.  9d.  each.  Considering  the  expense  of  text,  covers,  and  portfolios, 
and  the  cost  of  printing,  mounting,  and  advertising,  with  the  deductions  of  agencies 
abroad,  this  is  most  reasonable  ; and  Mr.  Sijthoff  deserves  our  thanks  for  placing 
works  of  real  art,  thoroughly  well  got  up,  within  the  reach  of  cultivated  people 
who  have  moderate  incomes.  I see  that  M.  Vibert  is  having  his  pictures  etched 
by  different  etchers  under  his  own  superintendence,  and  that  the  series  is  to  be 
published  in  parts  of  ten  plates  each,  at  £ 20  the  part,  or  £2  each  plate.  Of 
course  every  one  has  a right  to  charge  what  he  likes  for  his  own  merchandise,  but 
I have  already  expressed  regret  that  the  circulation  of  works  of  art  should  be  arti- 
ficially limited  by  excessively  and  unnecessarily  high  prices,  intended  to  give  them 
a fictitious  value  as  rarities.  In  the  case  of  large  plates  which  cost  great  labour, 
such  as  a few  of  the  most  important  by  Flameng,  a high  price  is  an  inevitable 
necessity  if  the  artist  is  to  live  by  his  work,  but  it  is  a necessity  to  be  regretted 
both  in  the  interest  of  the  public  and  for  the  artist’s  fame.  One  great  difficulty  is 
the  enormous  trade  percentages.  I have  known  more  than  one  instance  in  which 
publishers  charged  fifty  per  cent  merely  as  agents,  and  left  the  etcher  to  pay  all 
expenses  of  printing  and  advertising.  M.  Flameng  is  trying  to  avoid  this  by  tak- 
ing subscriptions  at  his  own  house  (25  Boulevard  Mont  Parnasse,  Paris)  for  two 
new  plates  of  his,  after  Rembrandt — La  Leqcn  cT Anatomie,  and  Les  Syndics.  He 
prints  three  classes  of  proofs  at  £8,  £ 6 , and  £4  each.  Raj  on  published  his  por- 
trait of  Stuart  Mill  at  five  guineas  for  artist’s  proofs,  and  two  guineas  for  proofs 
after  letters,  but  this  was  issued  through  the  usual  channels.  There  appears  to  be 
a demand  for  early  impressions  ; but  if  the  reader  cares  for  artistic  quality,  and  is  a 
judge  of  it,  he  will  value  impressions  simply  for  their  merits,  whether  early  or  late. 
Unless  in  the  case  of  drypoints,  or  etchings  much  retouched  with  drypoint  (the 
bur  being  left)  the  five-hundredth  proof  may  be  just  as  good  as  the  fifth,  and  will 
be  better  if  the  printer  has  been  more  lucky  with  it.  A sufficient  price  ought  always 
to  be  charged  to  allow  the  printer  to  give  plenty  of  time  and  care  to  his  work,  and 
to  destroy  every  defective  impression.  This  is  really  important.  The  utmost  care 
should  be  taken  about  paper,  too,  but  this  need  not  make  etchings  costly,  for  a 
sheet  of  the  finest  paper  costs  very  little. 

I much  regret  that  Mr.  Seymour  Haden’s  very  important  plate  after  Turner’s 
Calais  Pier , a plate  measuring  a yard  square,  is  not  yet  published  (June  1875),  so 
that  I cannot  speak  of  it  in  this  edition  of  my  book.  It  will,  however,  in  all  pro- 
bability, need  no  help  from  criticism.  A great  press  has  been  built  on  purpose  to 
print  it,  paper  has  been  manufactured  specially,  and  costly  real  sepia  has  been  pro* 
cured  from  the  Adriatic  for  the  printing- ink. 


9 


I 


CHAPTER  II. 

ON  COPYING  ETCHINGS  IN  FACSIMILE. 

JT  is  an  excellent  but  at  the  same  time  a most  severe  and 
irksome  discipline,  to  copy  etchings  by  great  masters  in  fac- 
simile. This  may  be  done  either  by  a student  of  the  art  for  his 
own  instruction  or  by  an  accomplished  master  in  order  to  popu- 
larise noble  works  which  in  their  perfect  states  are  so  rare  as 
to  be  inaccessible  to  all  but  a few  of  the  most  wealthy  collectors. 
The  technical  peculiarities  of  the  old  masters  can  never  be 
quite  thoroughly  understood  by  us  until  we  copy  them,  and 
the  act  of  copying  is  a continual  revelation,  but  the  patience 
that  it  requires  is  unimaginable  so  long  as  we  have  not  tried 
it.  Young  engravers  with  the  burin  are  trained  in  the  use  of 
their  supremely  difficult  instrument  by  a discipline  of  this 
kind,  and  although  the  etcher  aspires  to  more  freedom  and 
originality  of  manner,  he  may  do  wisely,  at  a certain  period 
of  his  career,  to  imitate  their  teachableness  and  forgetfulness 
of  self,  in  order  to  study,  line  by  line,  the  means  of  expression 
by  which  the  immortal  masters  have  given  their  genius  to  the 
world.  Such  work  whilst  it  lasts  is  slavery,  and  to  some 
utterly  unendurable,  but  whoever  can  compel  himself  to 
undergo  it  will  come  out  of  it  with  tripled  strength. 

Line  by  line,  I have  just  said,  for  in  this  close  application 
of  the  copyist  every  line  becomes  a separate  study  needing  a 
distinct  effort  of  observation  and  another  distinct  effort  of 
manual  imitation. 

There  is  not  space  in  this  volume  to  say  much  about  the 
copyists,  though  some  of  them  have  done  marvellous  feats. 


COPYING  ETCHINGS  IN  FACSIMILE. 


399 


Many  copies  are  so  exact  that  collectors  have  to  be  carefully 
on  their  guard  against  them.  There  is  an  etching  by  Rem- 
brandt, of  a beggar  seated  on  a little  hillock,  which  has  been 
so  cleverly  copied  that  Bartsch  says  it  is  difficult  for  the  most 
accomplished  connoisseur  to  distinguish  the  imitation  from 
the  original,  and  he  has  to  show  how  it  may  be  done  by  a 
little  difference  in  an  insignificant  mark  which  in  the  copy  is 
like  an  i joined  to  an  m,  whilst  in  the  original  it  is  like  the 
letter  n.  We  must  leave  these  details  to  more  voluminous 
writers,  and  confine  ourselves  in  this  place  to  the  study  of  a 
single  example,  which,  however,  shall  be  a notable  one. 

Flameng' s copy  of  the  Hundred-Guilder  Print. — The  illus- 
trations etched  by  M.  Flameng  for  M.  Charles  Blanc’s  Cata- 
logue of  the  works  of  Rembrandt  have  long  been  familiar  to 
every  student  of  the  art,  and  we  have  known  for  years  that  M. 
Flameng  could  copy  Rembrandt  with  a degree  of  life  and 
truth  which  left  little  to  be  desired.  Still  it  is  probable  that 
the  elite  of  the  European  art-public  were  not  quite  prepared 
for  the  great  technical  triumph  which  M.  Flameng  achieved 
in  the  year  1873.  He  produced  a copy  of  one  of  Rembrandt’s 
most  difficult  and  complicated  etchings — a copy  which,  if  we 
balance  one  quality  against  another,  certainly  far  exceeds  the 
most  perfect  photograph  in  accuracy,  whilst  at  the  same  tune 
it  possesses  as  a piece  of  execution  in  etching  all  those 
technical  merits  for  which  Rembrandt  himself  was  famous. 
In  fact,  this  performance  entirely  confirms  what  I said  of 
Flameng  several  years  ago,  that  he  can  overcome  any  techni- 
cal difficulty  which  Rembrandt  himself  could  overcome  ; and 
it  is  not  an  exaggeration  of  the  truth  to  affirm,  that  there 
exists  in  Europe  in  our  own  day  a man  who  may  be  said  to 
possess  the  hand  and  eye  of  Rembrandt,  though  not  that 
force  of  imagination  which  was  the  source  and  motive  of  his 
energy. 

It  may  be  difficult  to  convey  to  the  atechnic  reader  that 
full  apprehension  of  the  wonder  of  such  work  as  this,  which 


400 


COPYING  ETCHINGS  IN  FACSIMILE. 


will  seize  upon  every  etcher  when  he  examines  it.  In  a certain 
sense,  and  for  some  peculiar  reasons  which  will  be  given  in 
support  of  the  assertion,  it  may  be  boldly  affirmed  that,  as  a 
technical  performance  merely,  such  a copy  as  this  is  even 
more  wonderful  than  the  original  plate  itself.  There  is  a 
freedom  from  restraint  in  all  original  artistic  labour  which  is 
not  compatible  with  the  duties  of  the  copyist,  and  yet  at  the 
same  time  the  copyist  has  to  play  his  part  so  perfectly  as  to 
seem  not  less  free  in  thought  and  hand  than  the  original 
artist  whom  he  is  imitating.  Rembrandt  may  get  a shade,  in 
the  biting,  paler  or  darker  than  he  intended  it,  but  who  can 
point  out  where  his  idea  was  imperfectly  realised  ? — or  even  in 
the  drawing  of  a form  a line  may  fail  to  correspond  quite 
accurately  to  his  thought,  and  yet  no  critic  who  ever  lived 
discovered  the  secret  of  that  failure.  The  freedom  of  original 
art  is  due  to  the  impossibility  of  comparing  the  work  of  the 
artist  with  that  which  it  professes  to  represent ; but  the  copyist 
knows  that  the  very  first  thing  any  one  will  do  when  he  has 
the  opportunity,  will  be  to  put  his  copy  side  by  side  with  the 
original  and  test  it  by  two  comparisons — one  for  the  general 
effect  and  the  other  for  every  detail.  Hence,  in  selecting  a 
work  to  be  copied,  we  must  remember  that  the  more  ease  and 
freedom  there  is  in  the  original  performance  the  greater  will 
be  the  difficulty  of  imitating  it,  and  so  true  is  this  that  painters 
cannot  copy  their  own  sketches.  It  is  easier  to  write  a thing 
for  the  first  time  freely  in  our  own  handwriting  than  to  copy 
our  handwriting  in  facsimile.  A child  could  make  a labyrinth 
of  scrawls  in  a quarter  of  an  hour  which  the  most  skilful 
draughtsman  could  not  reproduce  without  great  care  and 
labour,  and  a considerable  expenditure  of  time. 

Now  it  so  happens  that  this  Hundred-Guilder  Print  offers 
every  conceivable  difficulty  to  the  copyist.  It  is  a piece  of  work 
in  which  great  freedom  of  manner  is  united  to  an  extraordinary 
delicacy  both  of  line  and  tone,  and  no  copy  can  be  successful 
which  does  not  render  all  those  delicate  lines  and  tones  with 


COPYING  ETCHINGS  IN  FACSIMILE. 


401 


complete  fidelity,  whilst  preserving  to  the  full  at  least  the 
appearance  of  that  freedom  which  Rembrandt  really  enjoyed, 
but  which  in  the  copyist  is  nothing  but  the  most  consummate 
acting.  It  is  in  a certain  sense  more  difficult  to  copy  an  etch- 
ing in  etching  than  to  engrave  a picture  which  the  engraver 
may  interpret  as  he  chooses.  Here  there  is  no  choice;  what- 
ever the  master  did  the  copyist  must  do  after  him. 

The  process,  too,  offers  the  peculiar  difficulty  that  the 
aitist  does  not  see  his  work  during  its  progress,  except  at 
occasional  intervals,  when  the  etching-ground  is  removed  from 
the  plate,  and  a proof  taken  between  one  state  and  another. 
Then  he  has  to  draw  every  line  in  reverse ; and  though  he  is 
aided  by  tracing-paper  and  the  mirror,  this  is  still  a very  seri- 
ous inconvenience.  And  for  the  intensity  of  his  shades  he  is 
dependent  upon  an  auxiliary,  which  is  proverbially  difficult 
to  manage,  and  capable  of  unexpected  treacheries  — the 
acid. 

There  are  passages  in  a work  like  this  which  put  to  the 
severest  test  the  capabilities  of  the  executant,  because  if  you 
cannot  conquer  them  at  the  first  stroke  you  cannot  conquer 
them  at  all.  There  are  faces  which  do  not  contain  more  than 
a dozen  lines,  and  upon  the  exactness  with  which  these  are 
placed  depends  the  whole  expression  of  the  countenance. 
Let  the  hand  tremble  never  so  little,  and  its  uncertainty  will  be 
at  once  transferred  to  the  copper  in  the  weakness  of  a false 
and  ill-regulated  line.  Although  Rembrandt  was  prodigal  of 
lines  in  transparent  shades  and  half  tones,  he  was  most  eco- 
nomical of  them  when  he  pleased  him  to  dessiner  au  trait , and 
the  copyist  has  no  choice  but  to  use  a like  economy.  Now 
when  the  expression  of  a face,  perhaps  the  face  of  the  most 
important  personage  in  the  composition,  is  entirely  dependent 
upon  the  correct  and  skilful  drawing  of  one  stroke,  which  in 
many  such  cases  cannot  be  done  slowly,  and  cannot  be  done 
twice  without  effacing  it  entirely  from  the  copper,  the  reader 
will  at  once  perceive  the  degree  of  sureness  of  hand  and  eye 

2 D 


4-02 


COPYING  ETCHINGS  IN  FACSIMILE. 


which  is  necessary  for  a feat  of  this  kind,  and  he  will,  appre- 
ciate the  difficulty  of  a performance  in  which  such  feats  must 
be  attempted  over  and  over  again. 

M.  Flameng  was  prepared  for  his  task  by  a training  much 
more  complete  than  chat  which  etchers  have  usually  received. 
Men  who  loved  and  practised  the  genuine  art  of  etching  have 
hitherto  generally  been  painters  who  could  not  give  time 
enough  to  the  copper  to  vanquish  all  its  difficulties,  and  were 
therefore  obliged  to  content  themselves  with  work  which, 
although  it  may  have  been  roughly  expressive  of  their  ideas, 
was  often,  from  the  technical  point  of  view,  rude  and  imperfect 
in  execution.  Many  amateurs  have  also  attempted  etching, 
and  one  or  two  of  them  have  succeeded  in  producing  the  kind 
of  work  which  a painter  is  most  likely  to  achieve  ; but  neither 
painter  nor  amateur  can  attain  the  technical  power  necessary 
to  cope  with  Rembrandt,  unless  he  gives  the  time  which 
Rembrandt  gave.  M.  Flameng  has  had  a thorough  engraver’s 
education,  and  is  indeed  at  this  moment  one  of  the  best  burin- 
engravers  in  Europe  ; and,  besides  this,  he  has  from  childhood 
been  a passionate  admirer  of  the  great  artist-etchers,  whose 
spirit  is  his  own  spirit,  whose  antipathies  and  preferences  are 
his  own  preferences  and  antipathies.  Having  studied  Rem- 
brandt all  his  life,  and  copied  him  not  a little,  he  came  to  this 
plate  prepared  for  his  great  task  by  the  thoughts  and  labours 
of  many  previous  years,  and  sustained  and  encouraged,  more 
than  would  have  been  possible  to  any  one  a little  time  since,  by 
that  extension  of  a serious  interest  in  etching  which  is  one  of 
the  most  striking  evidences  of  the  increase  of  artistic  culture  in 
Europe.  It  is  something  for  a great  engraver  to  feel  and  know, 
when  he  engages  in  such  an  enterprise  as  this,  that  in  every 
capital  in  the  civilised  world  there  are  at  least  a few  intelligent 
and  cultivated  persons  by  whom  he  will  be  gratefully  and 
immediately  appreciated.  This  is  not  the  sort  of  work  which 
the  vulgar  have  ever  cared  for,  and  they  may  be  left  to  their 
showy  prints  ; but  it  fortunately  happens  that  the  cultivated 


COPYING  ETCHINGS  IN  FACSIMILE. 


403 


public  is  now  just  numerous  enough  to  encourage  any  serious 
artist  who  has  the  taste  and  skill  to  satisfy  it 

The  value  of  a copy,  in  a case  of  this  kind,  is  greater  than 
might  be  supposed.  A fine  impression  from  a fine  copy  is 
nearer  to  the  thought  of  Rembrandt  than  an  impression  taken 
directly  from  one  of  his  own  coppers  when  they  had  been 
worn  by  too  much  printing.  A fine  impression  from  a plate 
etched  by  a copyist  who  can  etch,  is  far  nearer  in  quality  to 
the  original  work  than  any  photographic  reproduction  ever 
can  be ; and  beside  this,  copperplate  printing  is  much  more 
regular  and  reliable  than  photographic  printing,  so  that  the 
satisfactory  proofs  in  an  edition  are  likely  to  be  far  more 
numerous.  The  photographic  engraving  on  metal,  for  which 
several  different  patents  have  been  taken  in  England  and  on 
the  Continent,  overcomes  this  last  objection  ; but  in  those 
processes  so  much  has  to  be  done  by  biting  and  correction 
that  the  risks  of  failure  are  considerable.  A good  copy,  by 
an  artist  who  is  technically  equal  to  the  master  he  has  to 
render,  and  who  is  in  perfect  sympathy  with  him,  and  repro- 
duces him  as  a labour  of  love,  is  still,  notwithstanding  all 
modern  discoveries  and  inventions,  the  next  best  thing  to  a 
fine  early  impression  from  the  original  plate  itself.  Were  it 
not  that  the  self-sacrifice  required  would  be  almost  super- 
human, and  the  task  so  fatiguing  as  to  deaden  those  very 
sensibilities  which  are  essential  to  its  successful  achievement, 
one  would  be  tempted  to  desire  that  M.  Flameng  should 
re-engrave  the  entire  ceuvre  of  Rembrandt.  He  has  preferred 
to  etch  on  a large  scale  several  of  Rembrandt’s  most  import- 
ant pictures — a task  in  some  respects  less  onerous  and  more 
interesting  than  this,  since  the  etcher  has  been  left  free  to 
interpret  according  to  his  personal  taste  and  feeling. 

Few  plates  of  Rembrandt  illustrate  so  completely  as  this 
one  the  various  and  very  different  qualities  which  in  their 
union  have  given  him  his  supreme  rank  as  an  aquafortist. 
The  finish  of  the  shading,  true  and  right  finish — very  far 


404 


COPYING  ETCHINGS  IN  FACSIMILE, 


indeed  from  “ niggling  ” — is  as  remarkable  on  the  one  hand  as 
are  the  sureness  and  selection  of  line  on  the  other.  The 
chiaroscuro  is  arbitrary,  of  course ; Rembrandt’s  chiaroscuro 
usually  was  arbitrary,  and  it  would  be  easy  to  point  out 
impossible  lights  and  shadows.  But,  whatever  Rembrandt 
had  a mind  to  do,  that  he  did  in  the  most  efficient  and  masterly 
manner.  If  he  wanted  a shade  to  be  liquid  and  transparent, 
it  became  merely  so  much  partial  darkness,  and  you  see 
through  it  just  what  you  ought  to  see  and  no  more.  If  he 
intended  a form  to  be  well  defined,  it  will  be  clearly  visible  at 
the  right  distance,  though  the  means  used  be  of  the  slightest. 
If  he  wanted  a light  to  sparkle,  it  became  luminous  like  a 
jewel.  But  enough  of  these  technical  considerations.  The 
technical  craft  is  useful — it  is  even  indispensable  ; but  its  best 
employment  is  to  lead  us  beyond  itself  to  some  thought  that 
may  lift  up  our  hearts.  There  is  one  pale,  plain  grave  face  in 
the  centre  of  the  composition,  surrounded  by  a nimbus  of  dim 
glory,  which  is  more  affecting  in  this  earnest  northern  art  than 
in  the  stately  design  of  Raphael. 


ETCHING  AND  ETCHERS, 


APPENDIX. 


PRACTICAL  NOTES. 


CHAPTER  I. 

THE  PLATE. 

Since  the  first  edition  of  this  book  was  published  I have  written  a little 
work  especially  on  the  subject  of  processes,  which  is  called  The  Etcher3 s 
Handbook .*  That  work  includes  descriptions  of  many  different  processes 
which  have  been  found  to  answer  by  different  artists,  and  if  the  reader 
cares  to  follow  out  all  the  various  paths  by  which  a good  artist  may  arrive 
at  a technical  success,  he  will  find  most  of  them  indicated  there.  In  the 
present  volume  I shall  confine  myself  to  a description  of  two  processes 
which  I have  found  to  be  practically  the  most  certain  and  convenient, 
and  which  have  been  used  in  the  illustrations  that  accompany  these 
pages. 

Etching  remains,  in  all  essential  particulars,  precisely  the  same  art  as 
it  was  in  the  days  of  Rembrandt.  Its  manual  difficulties  and  facilities  are 
precisely  what  they  were  then  in  the  artistic  portion  of  the  work,  and 
when  a plate  is  finished  it  presents  exactly  the  same  appearance  as  a 
copper  by  one  of  the  old  masters.  Several  very  important  improvements 
— important,  I mean,  as  they  concern  the  practical  workman,  but  not  of 
the  slightest  consequence  to  anybody  else — have,  however,  been  intro- 
duced in  what  may  be  specially  called  the  work  of  the  laboratory.  The 
object  of  these  is  to  make  the  technical  business  more  easy  and  agree- 
able, and  to  bring  it  more  entirely  under  the  control  of  the  operator. 
Some  experienced  artists,  in  whom  the  traditional  spirit  is  strong,  and 
who  have  attained  their  skill  in  the  old  ways,  reject  these  improvements 
altogether.  M.  Martial  has  recently  published  a treatise  on  etching 
which  simply  repeats  the  old  methods  without  even  a word  of  allusion  to 
any  newer  ones,  but  the  reader  is  not  recommended  to  carry  the  conserva- 
tive spirit  to  excess  in  an  art  which  is  half  a science,  and  in  which  the 
scientific  spirit  is  really  helpful.  The  great  tradition  of  etching  is  not 
affected  in  the  least  by  these  improvements  of  the  laboratory,  for  drawing 
with  the  point  is  precisely  what  it  was  before,  but  the  scientific  and  purely 

* It  is  published  by  Mr.  Charles  Roberson  of  99  Long  Acre.  I may  mention 
for  the  convenience  of  the  reader,  that  Mr.  Roberson  supplies  everything  necessary 
to  etchers,  and  I will  take  care,  also  for  the  reader’s  convenience,  that  everything 
mentioned  in  this  section  of  my  work  shall  be  visible  in  its  material  shape  at  Mr. 
Roberson’s.  Letters  have  frequently  reached  me  complaining  that  this  thing  or  that 
was  not  procurable  in  the  shops,  and  it  would  be  a pity  if  the  enthusiasm  of  anyone, 
with  a natural  genius  for  etching,  were  to  cool  for  want  of  proper  material  supplies. 


408 


APPENDIX. 


mechanical  part  of  the  work  has  been  undeniably  much  improved  during 
the  last  few  years,  as  the  reader  will  soon  gather  from  the  following 
pages. 

If  you  get  your  plates  from  any  good  English  makers  you  will  seldom 
have  any  trouble  on  account  of  their  quality.  I have  been  well  supplied 
by  Mr.  Wilson  (Harp  Alley,  Shoe  Lane,  E.C.),  and  also  by  Messrs. 
Hughes  and  Kimber  (West  Harding  Street,  Fetter  Lane,  E.C.). 

The  chief  defects  to  be  guarded  against  are  excess,  deficiency,  and 
inequalities  of  density.  A plate  good  for  engraving  is  homogeneous  and 
sound  in  substance  ; a bad  plate  is  often  either  too  hard  or  too  porous, 
or  both.  After  some  practice  the  etcher  may  learn  to  test  a plate  in  two 
ways,  either  by  engraving  a few  lines  upon  it  with  a burin,  or  by  leaving  a 
few  drops  of  diluted  acid  on  its  surface,  and,  after  having  washed  them 
away,  examining  the  roughened  surface  they  have  left  with  the  help  of 
a microscope.  If  the  burin  is  used,  the  noise  it  makes  will  tell  the  ear, 
and  the  degree  of  opposition  will  tell  the  hand,  when  a plate  is  too  dense 
to  be  of  use,  or  when  there  are  inequalities  of  density.  The  test  by  acid 
informs  the  eye  when  the  grain  of  the  copper  is  irregular  ; this  cannot  be 
detected  on  the  polished  surface,  but  is  seen  easily  when  the  acid  has 
removed  the  polish  and  shows  the  real  grain  of  the  metal. 

Hammer-beaten  coppers  are  preferred  to  rolled  coppers,  and  an  ex- 
perienced artist  wrote  to  me,  “ When  you  order  your  plates,  always  order 
them  to  be  extra-hammered.” 

It  is  well  to  order  special  attention  to  be  given  to  the  bevelling  of  the 
edges.  If  the  plates  are  printed  upon  certain  kinds  of  paper  they  will 
break  the  paper  if  they  are  not  properly  bevelled,  and  when  the  printer 
sees  this  result  he  reduces  the  pressure  on  his  roller  to  avoid  it,  the  con- 
sequence being  weakness  in  the  proofs.  See  that  your  bevelled  edges 
are  well  polished,  so  that  they  may  print  clean. 

Copper  is  the  only  unobjectionable  metal  for  etchers.  Brass  is  un- 
equal, and  is  never  used  for  anything  artistic.  Zinc  is  a very  porous 
metal,  but  for  rather  coarse  and  picturesque  sketches  it  may  sometimes  be 
preferred.  I believe  Jeanron  used  it  for  his  rough  sketches.  Formerly 
the  great  objection  to  zinc  was  the  small  number  of  proofs  which  it 
yielded,  but  this  is  now  overcome  by  electro-metallurgy.  A zinc  plate 
cannot  be  steeled,  but  it  can  be  coppered,  and  with  this  protection  will 
yield  an  edition.  Zinc  may  sometimes  be  useful  to  amateurs  who  desire 
a small  number  of  proofs  to  give  to  their  friends,  even  without  the  coat  of 
copper,  and  then  it  is  a very  cheap  metal  to  use.  Sketches  done  in  a 
simple  way,  without  much  delicate  shading,  as,  for  instance,  caricatures, 
may  be  just  as  good  on  zinc  as  on  any  other  metal,  but  it  is  not  suitable 
for  finished  work. 

Steel  was  more  valued  for  etching  formerly  than  it  is  now.  It  was 
valued  because  it  yielded  large  editions.  A copper  plate  can  now  be 
covered  with  a very  thin  coat  of  steel  by  the  electro-type  process  without 
injuring  the  artistic  quality  of  the  design,  and  the  protected  copper  will 
also  yield  large  editions.  The  copper  plate  can  also  be  ^-steeled  and 


THE  NEEDLE. 


409 


rtf-steeled  several  times,  so  that  there  is  really  no  longer  any  reason  for 
etching  on  steel,  and  there  is  one  most  serious  objection  to  it.  One  can 
never  trust  a steel  plate  out  of  sight  without  anxiety.  People  are  so 
careless,  even  about  the  most  valuable  property,  that  they  can  seldom  be 
trusted  to  take  care  of  things  that  rust  easily  corrupts.  A very  valuable 
steel  plate,  by  an  eminent  engraver  whom  I knew,  was  so  entirely 
destroyed  by  rust  that  the  idea  of  publishing  it  had  to  be  abandoned. 
When  copper  plates  are  steeled  we  are  still  exposed  to  the  rusting  of  the 
steel  coat  through  the  carelessness  of  printers,  but  this  is  nothing  in 
comparison  with  the  other  danger,  for  though  the  rust  may  eat  through 
the  steel  coat  it  will  not  attack  the  copper,  and  the  only  inconvenience  is 
the  slight  expense  of  having  the  plate  steeled  over  again.  A short  bath 
in  weak  nitric  acid  and  water  will  entirely  remove  the  injured  steel  coat 
without  hurting  the  plate. 


CHAPTER  II. 

THE  NEEDLE. 

Anything  in  the  shape  of  a pencil  with  a hard  point  will  do  for  an 
etching-needle.  Steel  is  the  material  usually  employed  for  etching-points. 
They  are  very  commonly  set  in  wooden  holders.  The  whole  instrument 
may  be  made  of  a single  piece  of  steel.  In  that  case  it  should  be  kept 
thin  from  the  point  to  the  place  held  by  the  fingers,  or  else  the  eye  would 
be  inconvenienced  by  it,  for  in  doing  fine  work  a thick  instrument 
trouble  1 the  draughtsman  by  always  hiding  some  portion  of  the  work  that 
he  desires  to  see.  It  is  a convenience  to  have  the  instrument  in  a lingle 
piece,  because  when  set  in  wood  in  the  ordinary  manner  it  becomes  shaky 
in  time,  if  much  pressure  is  used.  Weight  is  not  an  objection,  but  the 
contrary,  for  although  an  etcher’s  work  must  look  as  if  his  hand  were 
light,  he  must  never  draw  very  lightly  in  reality — if  he  did,  the  point 
would  not  entirely  remove  the  etching-ground.  It  might  be  sufficiently 
cleared  away  to  show  the  copper,  yet  not  entirely  cleared  away,  so  that 
the  acid  could  not  attack  the  copper  equally.  This  is  especially  likely  to 
happen  to  inexperienced  etchers,  because  they  retain  from  the  practice 
of  some  other  art,  such  as  pencil-drawing,  the  habit  of  varying  their  pres- 
sure, and  when  they  want  to  etch  some  delicate  passage  they  instinctively, 
and  without  reflection,  press  too  lightly. 

When  the  etching-needle  is  sharpened  to  a fine  point,  it  may  easily  be 
made  so  heavy  that  if  loosely  held  between  the  fingers  the  mere  weight  of 
it  will  remove  the  ground  sufficiently,  but  with  blunt  points  which  are  used 
for  thicker  lines  an  instrument  weighing  50  grammes  is  not  heavy  enough 
to  remove  the  ground  without  being  aided  by  pressure.  We  have  there- 
fore to  keep  up  the  habit  of  applying  pressure  in  all  cases. 

A heavy  needle  may  be  sharpened  at  the  two  ends  to  different  degrees 


4io 


APPENDIX. 


of  sharpness.  In  this  case  it  may  be  made  thicker  in  the  middle  to  gain 
weight. 

For  work  of  great  delicacy  sewing-needles  may  be  used,  set  in  a metal 
holder  and  held  firmly  in  it  by  a little  screw.  They  ought  not  to  be  thin, 
nor  long  enough  to  be  very  flexible,  as  when  too  weak  they  are  difficult  to 
draw  with  accurately. 

It  is  these  common  sewing-needles,  set  in  a holder,  which  are  used 
when  working  in  the  acid,  as  the  reader  will  see  in  the  account  of  my 
positive  process. 

The  needle  ought  always  to  be  strong  enough  for  the  etcher  to  scratch 
well  into  the  copper  itself  without  stopping  merely  at  the  surface,  for  if 
he  stops  at  the  surface  he  may  not  be  sure  of  removing  the  whole  of  the 
etching-ground,  even  though  it  seems  as  if  he  did. 

There  has  always  been  some  difference  of  practice  amongst  etchers 
about  the  sharpening  of  the  needle.  Some  like  it  to  come  to  a point  (or 
to  a flat  blunt  end  for  the  thick  lines),  others  like  it  to  have  a cutting 
edge  like  the  end  of  a small  chisel.  There  is  a process  called  typographic 
etching,  in  which  a brass  plate  is  covered  with  a thick  coat  of  a white 
composition  like  wax,  and  a very  peculiar  kind  of  needle  is  used  to 
remove  this,  which  is  too  thick  to  be  dealt  with  by  the  ordinary  needle. 
Having  a set  of  these  tools  it  occurred  to  me  to  try  them  in  genuine 
etching,  and  after  a little  difficulty  at  first,  I found  them  singularly  valu- 
able. The  instrument  is,  to  begin  with,  nothing  but  a little  round  bar  of 
steel,  a sixteenth  of  an  inch  thick.  Two  flat  sides  are  made  on  the  grind- 
stone, which  meet  at  an  angle  like  a capital  V in  the  section  of  the  little 
bar.  The  top  or  round  part  is  ground  down  in  the  form  of  a snout,  like 
the  snout  of  a field  mouse,  and  there  is  a peculiar  little  edge  at  the  very 
end  like  the  muzzle  of  the  little  animal.  The  needle  is  set  in  a piece  of 
beech,  five  inches  long  and  a quarter  of  an  inch  in  diameter.  I believe 
these  tools  were  invented  by  a son  of  Mr.  Dawson,  the  eminent  land- 
scape-painter, so  for  convenience  let  us  call  them  the  Dawson  needles. 
I discovered  after  some  practice  that  one  such  instrument  might  be  made 
to  give  lines  of  three  very  different  thicknesses,  by  simply  turning  it  a little 
in  the  fingers.  One  that  I now  use  habitually  gives  me — 

1.  A very  fine  line  in  the  direction  of  the  cutting  edge. 

2.  A broader  line  with  the  top  of  the  snout  when  used  upside  down. 

3.  A very  broad  line  indeed  when  used  side-ways. 

This,  of  course,  depends  upon  the  way  of  sharpening  the  tool.  The 
practical  reader  will  see  at  a glance  the  enormous  advantage  of  holding 
three  instruments  in  one.  It  is  an  embarrassment  just  at  first,  but  after 
practice  the  hand  becomes  used  to  the  capabilities  of  the  tool,  and  by 
turning  it,  quite  unconsciously,  between  the  finger  and  thumb,  converts 
it  from  one  use  to  another. 


GROUNDS  AND  VARNISHES 


411 


CHAPTER  III. 

GROUNDS  AND  VARNISHES. 

In  English,  the  resinous  coat  which  protects  the  plate  is  usually  called 
the  “ ground,”  and  the  word  " varnish  ” is  reserved  for  that  which  is 
applied  with  a brush.  Let  us  first  consider  the  nature  of  the  etching- 
ground. 

The  purpose  of  it  is  to  protect  the  copper  between  the  lines  against 
the  action  of  the  acid  bath.  It  ought  not  to  interfere  with  the  use  of  the 
needle  by  opposing  any  appreciable  resistance,  and  it  ought  not  to  require 
any  kind  of  precaution  in  the  etcher,  who  should  never  have  to  think 
about  it. 

A really  good  etching-ground  is  of  a very  peculiar  nature.  It  is  suffi- 
ciently hard  without  being  brittle,  and  it  is  adhesive  without  being  too 
adhesive.  It  is  easily  removed  with  the  point,  and  yet  the  minutest  atom 
of  it  that  is  left  between  two  strokes  will  cling  and  remain  and  protect  the 
copper  until  the  biting  is  all  over. 

I have  given  a great  deal  of  practical  attention  to  the  making  of  etch- 
ing-grounds, and  tried  many  experiments.  After  much  laboratory  work 
and  careful  comparison,  I arrived  at  the  conclusion  that  the  best  ground 
was  that  of  Abraham  Bosse,  so  I give  the  receipt  for  it  here  without 
troubling  the  reader  with  any  other.  It  is  sufficiently,  without  being 
unpleasantly,  adhesive,  it  resists  the  acid  bath  quite  perfectly,  it  offers  no 
appreciable  resistance  to  the  needle,  and  it  is  very  easily  laid  on  the 
copper. 

Bosses  Ground. — White  wax,  very  pure,  50  grammes,  gum  mastic, 
very  pure,  30  grammes ; asphaltum,  15  grammes. 

To  make  it  you  have  a pan  of  water  over  a slow  fire,  and  a clean  por- 
celain pot  in  the  pan.  Put  the  white  wax  first  into  the  pot,  and  let  it 
melt.  Then  pound  your  gum  mastic  in  a mortar  till  you  have  it  in  very 
fine  powder,  and  add  it  gradually  to  the  wax,  stirring  with  a clean  little 
glass  rod.  When  the  mastic  is  quite  melted  and  thoroughly  incorporated 
with  the  wax,  pound  your  asphaltum  also  in  the  mortar  until  it  is  in  quite 
a fine  powder,  and  add  it  gradually,  stirring  all  the  time,  and  taking  good 
care  that  there  are  no  little  lumps  of  asphaltum.  All  the  three  ingredients 
should  be  perfectly  blended  together,  which  they  will  not  be  if  the  mix- 
ture is  made  carelessly.  After  stirring  for  some  time  longer,  pour  the 
mixture  into  cold  water,  and  when  it  is  hard  break  it  up  into  fragments, 
and  keep  it  in  a wide-necked  glass  bottle  with  a glass  stopper.  If  it 
has  been  well  made  you  will  see  that  it  breaks  in  a peculiarly  pleasant 
way.  It  is  slightly  elastic,  but  then  breaks  suddenly,  clearly,  and  with  a 
peculiar  sound.  It  should  be  a dull  black,  rather  brighter  in  the  breakage. 

Etching-ground  may  be  applied  to  a plate  in  a liquid  state,  as  photo- 
graphers apply  collodion,  by  keeping  it  in  solution.  It  may  be  dissolved 


412 


APPENDIX. 


either  in  chloroform  or  ether  ; it  may  also  be  dissolved  in  oil  of  lavender. 
If  you  make  the  ether  solution  let  it  stand  for  three  weeks,  and  then 
decant  the  clear  portion  into  another  phial  for  use.  Some  years  ago  I 
used  these  solutions,  and  valued  especially  that  in  ether,  but  now  that  I 
employ  the  roller,  which  will  be  explained  shortly,  I have  almost  aban- 
doned this  manner  of  applying  the  etching-ground,  except  for  the  positive 
process.  When  solutions  are  used  the  etcher  should  take  care  to  distin- 
guish between  apparent  drying,  which  takes  place  very  soon,  and  real 
drying,  which  may  require  many  hours. 

It  is  not  easy  to  ascertain,  without  minute  chemical  analysis,  what  is 
the  composition  of  different  etching-grounds  sold  ready-made.  M. 
Flameng  tells  me  that  those  sold  in  London  are  too  adhesive  for  his 
taste,  but  that  they  resist  uncommonly  well.  The  consequence  of  a too 
great  degree  of  adhesiveness  in  the  ground  is,  that  when  the  etcher  does 
not  actually  cut  into  the  copper,  he  may  not  entirely  remove  the  ground, 
though  he  thinks  that  lie  removes  it,  and  as  an  extremely  thin  film  is 
enough  to  protect  the  copper,  the  acid  will  not  attack  his  lines.  I have 
often  been  tormented  by  this  inconvenience  when  using  English  ground, 
and  a very  great  inconvenience  it  is,  for  if  some  lines  are  attacked,  whilst 
others  are  not  bitten  at  all,  the  result  cannot  fail  to  be  a disappointment. 
M.  Flameng  says  that  a disappointment  of  this  kind  occurred  to  him 
when  he  used  an  English  ground,  but  that  he  has  never  experienced  it 
with  the  French  one  he  commonly  uses.  I made  his  ground  the  subject 
of  some  experiments,  and  found  it  satisfactory,  but  for  use  with  the  roller 
I prefer  that  of  Abraham  Bosse. 

Each  of  the  three  elements  in  Bosse’s  ground  is  there  for  some  special 
reason,  and  has  its  own  work  to  do.  The  mastic  gives  hardness,  the  wax 
softness,  the  asphaltum  adhesiveness.  The  mixture  of  the  three  in  the 
proportions  given  above  secures  that  very  peculiar  balance  of  qualities 
which  is  required  in  an  etching-ground.  Pitch  is  used  in  some  grounds 
to  get  still  greater  adhesiveness.  Mastic  and  pitch  would  be  brittle  with- 
out wax,  but  they  would  perfectly  protect  copper  against  acid.  Wax  pro- 
tects copper,  but  it  is  too  delicate  by  itself,  except  for  the  positive 
process. 

A White  Groiind.  — White  wax,  50  grammes;  gum  mastic,  30 
grammes.  Melt  the  wax  first  as  before  in  a pot  surrounded  with  hot 
water,  and  then  add  the  gum  mastic  very  gradually  in  powder. 

This  is  the  same  as  Bosse’s  ground  without  the  asphaltum.  It  is 
very  transparent,  but  rather  weak  comparatively.  Bosse’s  ground  itself, 
when  applied  very  thinly  with  the  roller,  will  serve  as  a transparent 
ground  if  not  smoked. 

Etching-Pastes.  The  two  grounds  already  described  may  be  con- 
verted into  pastes  for  application  with  the  roller,  by  simply  melting  them 
and  adding  oil  of  lavender  in  greater  or  less  quantity  as  the  paste  is 
required  to  be  more  fluid  or  more  stiff.  Mix  the  oil  thoroughly  with  the 
ground  by  stirring  with  a glass  rod.  As  for  the  quantity  of  oil  required 
you  can  judge  of  that  easilv  by  letting  a drop  of  the  fluid  naste  fall  on  a 


GROUNDS  AND  VARNISHES. 


4i3 


cold  slab,  when  it  soon  solidifies  as  much  as  it  can.  If  you  find  it  too 
hard,  add  more  oil.  The  most  convenient  kind  of  paste  for  use  with  the 
roller  is  just  like  the  pomatum,  sold  by  hairdressers,  in  consistence.  It 
is  better  that  it  should  be  rather  too  thin  than  too  stiff,  but  it  ought  to 
be  stiff  enough  to  stand  and  not  flow.  Whilst  still  hot  and  fluid  pour  it 
into  wide-necked  glass-stoppered  bottles,  and  after  it  sets  pour  a little  oil 
of  lavender  on  the  top  of  it  to  keep  it  from  drying.  With  this  precaution 
you  may  keep  your  paste  indefinitely. 

Etching  grounds  for  use  with  the  brush. — Take  some  of  the  paste  just 
described  with  a palette-knife  and  add  to  it  enough  oil  of  lavender  to 
make  it  sufficiently  fluid  for  use  with  the  brush.  If  you  want  a trans- 
parent ground  nothing  more  is  to  be  added,  but  if  you  want  your  ground  to 
be  black  and  opaque  add  lamp-black  to  it  in  impalpable  powder  with  the 
palette-knife,  and  rub  the  lamp-black  and  the  etching  ground  thoroughly 
well  together  till  you  have  a sort  of  oil-paint.  This  black  paint  is  a very 
good  ground  to  be  laid  with  a brush,  and  it  is  very  convenient  for  use  in 
certain  circumstances.  For  example,  a part  of  your  etching  is  defective 
and  you  would  like  to  draw  it  over  again  without  destroying  the  rest  of  your 
drawing.  Clean  the  ground  off  the  defective  place  with  a rag  dipped  in  oil 
of  lavender,  and  when  the  copper  is  bare  paint  upon  it  with  the  black  paint, 
neatly  joining  up  to  the  edges  of  what  is  to  remain.  Leave  it  to  dry  for 
twenty-four  hours,  and  then  you  can  etch  the  passage  over  again.  I must 
warn  the  reader,  however,  that  if  the  black  paint  is  allowed  to  remain  too 
long  (some  weeks  or  months),  it  is  apt  to  become  brittle  and  shell  off  if  there 
is  any  excess  of  lamp-black  in  it.  If  properly  mixed,  and  used  within  a 
fortnight,  it  is  perfectly  safe,  and  a very  great  convenience  to  an  etcher. 

Stopping  out  Varnish. — In  the  first  edition  of  this  work  I gave  three 
old  receipts  for  varnishes  of  this  kind,  and  the  reader  will  find  others  in 
other  books,  but  they  are  all  defective.  Either  they  are  not  fluid  enough 
for  stopping  out  very  minute  portions  of  work  quite  conveniently,  or  else 
they  do  not  dry  fast  enough,  or  else  you  cannot  work  in  them  with  the 
needle  if  you  want  to  lay  fresh  lines  across  the  portions  of  the  plate  which 
are  protected  by  them.  After  many  experiments,  I hit  upon  a stopping- 
out  varnish  which  has  the  following  qualities  : — 1.  It  is  as  fluid  as  possible. 
2.  It  dries  at  once.  3.  It  may  be  worked  in  afterwards  with  the  needle. 

To  prepare  it,  make  a saturated  solution  of  white  wax  in  ether.*  When 
this  is  left  to  settle  there  will  be  a part  above,  as  clear  as  water,  and  a 
part  below,  just  like  milk.  The  clear  portion  is  what  you  want.  Decant 
this  into  another  phial,  and  if  you  have  any  milky  sediment,  decant  again, 
till  all  is  clear.  Add  to  this  about  one-sixth  of  its  volume  of  Japan  varnish, 
and  mix  well.  You  have  now  the  best  stopping-out  varnish  which  has 
yet  been  discovered,  but  as  it  dries  very  rapidly  it  requires  a little  pre- 
caution in  using.  To  use  it  pour  a few  drops  of  it  into  the  tiniest  bottle 
you  can  get,  with  a very  narrow  neck,  and  then  dip  a small  brush  into 

* Only  a little  wax  is  required,  as  ether  will  not  really  dissolve  much.  If,  on  settling, 
there  is  more  than  a third  of  milky  fluid,  you  can  add  more  ether,  shake  the  phial, 
and  let  it  settle  again.  The  clear  portion  is  a quite  pure  saturated  solution  of  wax. 


4*4 


APPENDIX. 


this,  adding  a drop  now  and  then  when  wanted.  Wash  the  little  brush 
frequently  in  oil  of  lavender  and  wipe  it  well.  If  the  varnish  gets  too 
thick  you  may  thin  it  once  or  twice  with  a drop  of  ether,  but  when  the 
sitting  is  over  throw  away  what  remains  in  the  tiny  bottle,  clean  it  well, 
and  take  fresh  varnish  next  time  from  your  phial.  There  is  no  need  to 
make  the  varnish  afresh  each  time,  it  will  keep  for  years. 

In  this  mixture  the  ether  is  used  for  greatei  fluidity  and  more  :apid 
drying  than  could  be  got  by  the  use  of  turpentine  ; the  Japan  varnish  is 
employed  for  its  dark  colour,  its  hardness,  and  its  resistance  to  acid,  the 
wax  is  used  to  correct  the  hardness  of  the  Japan  varnish,  so  far  as  to  per- 
mit the  etcher  to  work  in  it  with  the  needle. 

This  varnish  remains  in  perfect  condition  on  the  plate  for  some  days 
or  even  weeks,  but  in  course  of  time  the  hardening  power  of  the  Japan 
varnish  so  far  overcomes  the  resistance  of  the  wax  as  to  make  the  varnish 
brittle  and  therefore  unfit  to  work  in  with  the  point.  I have  always  found 
that  all  ground  in  which  Japan  varnish  is  an  ingredient  became  brittle  in 
a few  months,  but  when  we  know  this  it  is  not  an  objection,  as  there  is 
plenty  of  time  to  etch  the  most  elaborate  plate  before  the  brittleness 
comes  on. 


CHAPTER  IV. 

THE  ACID  BATH. 

One  of  the  very  greatest  of  recent  improvements  in  the  scientific  part 
of  etching  has  been  the  discovery  of  the  Dutch  mordant.  It  is  very  slow 
in  operation,  but  at  the  same  time  very  sure.  With  Bosse’s  ground  it 
enlarges  the  line  but  little,  much  less  than  nitric  acid  does.  I cannot 
conceive  how  any  etcher,  who  has  used  it,  can  employ  nitric  acid  again 
except  as  an  auxiliary,  for  a special  purpose. 

The  Dutch  Mordant. — This  invaluable  mordant  is  composed  as 
follows : — 

Chlorate  of  potash,  20  grammes  ; hydrochloric  acid  100  grammes  ; 
water  880  grammes.  Total,  1000  grammes,  = 1 litre. 

The  way  to  make  it  is  as  follows.  First  heat  the  water  by  putting  the 
bottle  containing  it  into  a pan  also  containing  water,  and  keep  it  on  the 
fire  till  that  in  the  pan  boils.  Now  add  the  chlorate  of  potash  and  see 
that  every  crystal  of  it  is  dissolved.  Shake  the  bottle  to  help  the  solution. 
When  no  more  crystals  are  to  be  seen  you  may  add  the  hydrochloric  acid. 

Make  a good  quantity  of  this  mordant  at  once,  so  as  always  to  have  a 
plentiful  supply  by  you. 

The  Nitric  Bath. — The  acids  commonly  used  for  biting  plates  before 
the  introduction  of  the  Dutch  mordant  were  nitric  and  nitrous  acids 
diluted  with  water,  usually  with  an  equal  quantity  of  water. 

It  is  still  necessary  to  keep  nitric  acid  in  the  laboratory  as  an  auxiliary. 


THE  LABORATORY  AND  PRINTING-ROOM. 


4i5 


useful  under  certain  circumstances,  which  will  be  explained  later.  Keep 
it  pure  and  dilute  it  when  required  to  the  degree  necessary  at  the  moment. 

Perchloride  of  Iron , more  or  less  diluted  with  water  is  an  excellent 
mordant.  It  bites  deep  and  clear  without  enlarging  the  line  much,  and 
there  is  no  ebullition  as  there  is  with  nitric  acid.  There  is  however  the 
objection  that  its  dark  colour  rather  prevents  one  from  seeing  what  is 
going  on,  and  this  is  an  insuperable  objection  for  the  positive  process. 

You  may  keep  perchloride  of  iron  in  the  laboratory  as  an  auxiliary, 
to  be  used  in  certain  cases. 


CHAPTER  V. 

THE  LABORATORY  AND  PRINTING-ROOM. 

It  is  always  best,  when  it  can  be  managed,  to  keep  acids  and  other 
chemicals  out  of  the  rooms  you  commonly  inhabit.  Any  little  place  will 
do  for  a laboratory  if  it  is  well-lighted.  You  may  have  your  little  printing 
establishment  in  the  same  room.  There  ought  to  be  two  tables,  and 
plenty  of  shelves,  with  a few  drawers. 

Cleanliness  is  the  great  necessity  in  a laboratory.  It  ought  always  to 
be  kept  as  tidy  and  clean  as  possible.  The  room  should  be  simple  and 
naked,  so  that  everything  in  it  may  be  easily  dusted  and  washed.  The 
operator  ought  to  make  a rule  that  all  shall  be  in  perfect  order  at  least 
once  a day,  and  keep  his  rule.  An  evening  inspection  will  ensure  this. 
You  cannot  carry  order  and  cleanliness  too  far  in  a place  of  this  kind,  for 
there  is  no  certainty  or  satisfaction  in  chemical  experiments  without  them, 
and  etching  is  always  a chemical  experiment. 

Use  nothing  but  glass-stoppered  bottles,  and  have  a large  distinctly- 
written  label  on  each  of  them.  Have  all  utensils  as  much  as  possible  of 
glass,  or  if  not  that  at  least  of  pure  white  porcelain. 

The  Printing-press. — For  the  convenience  of  etchers,  I invented  a 
miniature  press,  which  may  be  carried  anywhere,  and  will  give  good 
proofs.  Mr.  Roberson  of  Long  Acre  sells  the  smallest  of  these  at  two 
guineas  and  a larger  size  at  four  guineas.  M.  Cadart,  the  publisher,  also 
constructed  a small  press,  which  is  sold  in  London  by  Messrs.  Dulau  and 
Co.,  37  Soho  Square,  price  six  pounds.  My  object  was  to  contrive  a 
miniature  and  very  portable  affair,  which  an  etcher  might  put  in  his  box 
when  travelling,  and  use  anywhere,  in  an  inn,  in  a friend’s  house,  or  even 
out  of  doors  when  etching  from  nature.*  M.  Cadart’s  object  was  to  con- 

* I wish  to  make  a few  observations  about  the  way  of  using  those  little  presses,  • 
as  etchers  sometimes  write  to  me  to  complain  that  their  proofs  are  pale  and  feeble. 
As  I first  invented  them,  the  roller  terminated  in  a ring,  like  a ring-bolt.  The 
press  was  then  to  be  temporarily  fixed  to  any  strong  table  or  chimney-piece,  by 
means  of  a screw-clamp,  and  the  printer  was  to  insert  a lever  in  the  ring  with 


4i  6 


APPENDIX. 


trive  a convenient  reduction  of  the  ordinary  printer’s  press,  which,  without 
occupying  much  space,  would  still  be  a substantial  piece  of  furniture.  If 
the  reader  can  give  a room  specially  to  etching  as  a laboratory  he  will  do 
well  to  get  one  of  M.  Cadart’s  presses  ; if  not,  he  will  find  those  sold  by 
Mr.  Roberson  more  convenient,  as  they  can  be  put  out  of  the  way  in  a 
minute.  More  ambitious  etchers  may  set  up  regular  presses  like  those 
used  by  printers.  Mr.  Haden’s  great  press  for  printing  the  “ Calais  Pier” 
after  Turner  is  a magnificent  and  costly  machine,  perhaps  the  finest  in  all 
London,  Mr.  Samuel  Palmer,  too,  has  a good  press.  If  the  reader 
chooses  to  launch  out  a little  in  this  direction  he  may  spend  from  ^25  to 
£150  on  his  press  without  being  cheated  of  a penny. 

A press  of  some  kind  is  not  only  desirable  for  an  etcher,  it  is  a positive 
necessity.  The  habit  of  frequently  taking  proofs  advances  him  in  his  art, 
and  in  this  sense  it  is  not  too  much  to  say  that  the  press  is  a silent  but 
severe  master,  always  ready  to  point  out  the  defects  of  our  work,  or  to 
encourage  us  when  we  deserve  it.  For  etchers  who  live  in  the  country  a 
press  is  especially  necessary,  the  delays  caused  by  sending  the  plates  to 
town  every  time  that  a proof  is  wanted  are  so  annoying  as  to  become  in 
time  almost  insupportable,  and  lead  to  a despairing  abandonment  of 
correction. 

The  qualities  of  a good  press  are  to  have  true  motion,  strong  pressure 

which  he  might  turn  the  cylinder.  Some  amateur  fancied  that  the  ring  was  incon- 
venient, and  persuaded  the  maker  to  substitute  a small  wheel,  to  be  turned  with 
the  hands.  Now  the  consequence  of  this  “improvement”  is,  that  the  proofs  are 
necessarily  weak,  for  if  you  put  pressure  enough  on  the  roller  by  means  of  the 
screws  to  give  you  a fine  proof,  you  will  not  be  able  to  turn  it  with  so  small  a 
leverage  as  the  little  wheel  affords  you.  I therefore  quite  decline  to  be  responsible 
for  the  success  of  any  of  these  little  presses,  which  do  not  afford  some  means  of 
getting  the  necessary  leverage.  The  original  one  in  my  laboratory  has  a ring,  and 
to  move  it  I insert  a strong  lever  more  than  a yard  long,  which  is  equivalent  to  a 
wheel  six  feet  in  diameter,  the  spokes  of  which  are  merely  levers  of  the  same  kind, 
fixed.  When  full  pressure  is  on,  I could  not  stir  the  roller  without  such  a lever. 
Another  press  in  my  laboratory  has  a wheel  of  eight  spokes,  each  of  them  more  than 
a yard  long.  These  are  rather  more  convenient  than  the  loose  lever  for  a fixed 
machine,  but  the  loose  lever  is  more  convenient  for  one  that  is  not  always  in 
the  same  place. 

A correspondent  in  America  who  has  got  one  of  the  little  presses  from  Eng- 
land says,  that  he  fears  the  little  roller,  from  its  small  diameter,  will  not  mount  the 
bevel  of  the  plate,  when  there  is  pressure  enough  to  give  a good  proof.  Cer- 
tainly it  will  not,  unless  there  are  slips  of  metal  at  the  two  edges  of  the  travelling 
board,  to  keep  the  roller  at  a certain  height  above  the  board,  so  that  it  may  not 
have  to  rise  much  upon  the  bevel.  Suppose,  for  instance,  that  you  are  going  to 
take  a proof  with  one  of  these  little  presses  which  has  a plain  travelling  board  and 
a small  roller.  You  put  on  a good  pressure  with  the  screws,  the  roller  turns  well, 
and  the  board  travels  until  the  plate  is  brought  to  the  roller,  which  then  turns 
round  and  round  on  the  flannel,  without  rising  upon  the  plate.  You  then  reduce 
the  screw  pressure,  but  the  consequence  is  that  you  get  a feeble  proof.  I explained 
long  since  to  the  maker  how  this  inconvenience  was  to  be  obviated,  and  here  I will 


THE  LABORATORY  AND  PRINTING-ROOM.  417 


and  the  least  possible  friction.  The  roller  must  of  course  be  accurately 
turned,  for  if  it  is  not,  the  pressure  will  be  unequal  on  different  parts  of  the 
plate.  The  travelling-board  must  also  be  well-planed,  so  as  to  be  per- 
fectly flat  and  of  exactly  the  same  thickness  throughout.  Perfectly  good 
proofs  may  be  taken  by  means  of  wooden  presses  (Rembrandt  and  his  con- 
temporaries used  them),  but  it  is  necessary  to  send  the  rollers  to  the  turner 
from  time  to  time.  In  applying  pressure  by  means  of  the  screws  the 
etcher  should  take  the  greatest  care  to  observe  that  the  pressure  is  equal 
at  the  two  extremities  of  the  roller ; for  if  it  is  not,  one  side  of  his  proofs 
will  come  feebler  in  the  printing  than  the  other  side. 

I will  now  give  an  inventory  of  things  required  in  the  laboratory  and 
printing-room. 

§ 1.  A printing-press. 

§ 2.  A simple  kind  of  screw-press  to  flatten  proofs.  For  small  plates 
a common  copying-press  will  answer  perfectly. 

§ 3.  Copperplates.  Keep  your  spoiled  coppers  (you  will  have  a good 
many  such  at  first)  and  have  them  replaned.  If  strong  at  first  they  may 
be  replaned  two  or  three  times.  The  etching  by  Lalanne  in  this  volume 
is  on  a very  thin  copper,  which  has  probably  been  several  times  replaned. 
A correspondent  thought  this  objectionable,  because  thin  coppers  curved 

explain  it  jgain.  Screw  two  narrow  plates  or  bands  of  metal  along  the  sides  of 
the  travelling  board  thus,  so  that  the  roller  may  run  on  them  as  if  on  rails.  They 


should  be  a little  thinner  than  the  plate,  and  as  long  as  the  travelling  board.  The 
plate  to  be  printed  is  now  to  be  laid  between  them.  By  this  contrivance,  which  I 
have  tested  in  practice,  the  roller  encounters  no  insurmountable  difficulty,  and  the 
pressure  may  be  put  on  by  the  screws  to  any  amount  required,  for  the  production 
of  a good  proof.  I can  take  proofs  with  the  smallest  of  the  miniature  presses,  as 
clear  and  powerful  as  with  a large  one,  and  the  reader  ought  to  be  able  to  do 
the  same. 

I may  add  that  Japanese  paper  is  much  easier  to  print  upon  than  any  other. 

I have  improved  my  own  large  press  lately  by  the  addition  of  guiding  rails. 
These  rails  are  of  iron,  with  a square  section  of  half-an-inch.  One  of  them  is 
screwed  upon  the  board  on  which  the  small  rollers  run.  The  other  is  screwed 
under  the  travelling  board,  and  both  are  placed  exactly  in  the  middle,  so  that  the 
latter  is  just  over  the  former.  In  my  press  there  are  four  running  rollers,  three 
inches  in  diameter.  These  are  of  wood,  so  the  turner  made  a groove  in  each  of  them 
for  the  guiding  rails  to  fit  into,  and,  therefore,  when  in  action,  each  roller  has  the 
lower  guiding  rail  in  it  below,  and  the  upper  one  in  it  above.  The  consequence 
of  this  is,  that  the  travelling  board  can  never  deviate  in  the  least,  for  the  rail  on 
the  fixed  plank  makes  the  rollers  go  straight,  and  the  rail  under  the  travelling 
board  enables  the  rollers  in  their  turn  to  compel  the  travelling  board  to  go  straight. 
The  same  improvement  might  be  applied  to  smaller  presses. 

2 E 


4i  8 APPENDIX. 


under  the  press,  but  M.  Lidnard,  my  printer,  says  that  thin  ones  are  as 
easy  to  print  from  as  others. 

§ 4.  A roller  for  rebiting — the  French  rouleau  a rev  emir.  I shall 
write  a little  chapter  specially  on  the  various  uses  of  this  invaluable 
instrument. 

§ 5.  Three  pieces  of  plate  glass,  twelve  inches  by  ten,  and  three-tenths 
of  an  inch  thick,  like  those  used  in  photographic  printing-presses.  The 
use  of  these  will  be  explained  in  the  chapter  on  the  roller. 

§ 6.  Dabbers.  The  best  way  to  make  a dabber  is  as  follows  : — Have 
some  horse-hair,  some  cotton-wool,  and  a piece  of  black  taffetas  silk,  of 
good  quality.  Lay  the  cotton-wool  on  the  silk,  first,  in  a circular  shape, 
about  four  inches  in  diameter,  then  lay  a good  heap  of  well-separated 
horse-hair  upon  this.  Draw  the  silk  up  all  round  and  force  the  materials 
inside  into  rather  a flat  shape.  Tie  the  silk  together,  binding  it  with  a waxed 
thread,  and  cut  off  the % superfluous  silk.  A dabber  of  this  kind  may  be 
cleaned  with  turpentine,  or  you  may  put  a new  cover  on  it  and  renew  the 
cover  as  often  as  you  please,  without  making  a new  dabber.  The  readiest 
way  to  clean  a dabber  is  to  heat  it  over  a spirit  lamp,  and  then  briskly 
wipe  it  on  clean  stiff  canvas  of  the  sort  used  in  printing.  Always  keep 
dabbers  scrupulously  clean,  and  in  a box  of  their  own. 

§7.  Smoking  tapers.  What  are  called  “ cellar-rats  ” in  France  are 
the  best  for  this  purpose.  To  make  them,  twist  eight  cotton  threads 
rather  loosely  together  and  dip  them  two  or  three  times  in  molten  bees- 
wax. Twist  a dozen  of  these  dips  together,  warming  them  in  warm  water 
to  enable  you  to  do  it  without  breaking  them. 

§ 8.  A holder  for  smoking.  A common  little  tin  cup  with  a flat 
bottom.  You  stick  the  smoking  taper  in  this  with  wax,  and  it  prevents 
the  molten  wax  from  running  on  your  fingers.  An  extinguisher. 

§ 9.  A set  of  etching  needles.  See  Chapter  II. 

§ 10.  A burnisher.  This  is  a smooth  steel  instrument  for  polishing 
copper  by  friction  and  pressure.  It  must  be  kept  entirely  free  from 
scratches  or  rust-pits. 

§ 1 1 . A piece  of  deal  with  two  grooves  in  it  the  size  of  your  burnisher. 
In  one  of  these  keep  a little  emery  powder,  in  the  other  some  tripoli  and 
oil.  By  rubbing  your  burnisher  backwards  and  forwards  in  these  grooves, 
you  will  keep  it  bright. 

§ 12.  A scraper.  This  is  a three-edged  tool,  and  its  edges  have  to  be 
kept  very  sharp  or  they  will  scratch  the  copper. 

§ 13.  A flat  scraper  shaped  like  a leaf,  to  be  kept  very  sharp.  When 
properly  held  in  the  hand  this  tool  will  take  shavings  off  the  copper  half 
an  inch  or  three  quarters  of  an  inch  long.  It  is  the  most  powerful 
reducer  of  surface. 

§ 14.  A good  oil-stone  to  sharpen  your  tools. 

§ 15.  An  engraver’s  magnifying  glass,  to  be  held  in  the  eye. 

§ 16.  A larger  magnifying  glass,  to  be  held  in  the  hand. 

§ 17.  Several  photographer’s  trays  for  acid  baths,  etc.  They  are  best 
in  glass,  next  best  in  white  porcelain,  after  that  come  the  gutta  percba 


THE  LABORATORY  AND  PRINTING-ROOM.  419 


trays,  whose  chief  merit  is  that  they  are  not  fragile.  Lastly,  trays  may  be 
made  of  wood,  painted  inside  with  a solution  of  Bosse’s  etching-ground  in 
oil  of  lavender.  These  answer  fairly  well,  and  are  sometimes  a conveni- 
ence, as  any  joiner  can  make  them,  and  the  etcher  himself  can  paint  them. 
I have  several  such  which  have  been  in  use  for  years.  If  a leak  occurs, 
give  a new  coat  of  etching-ground.  The  greatest  objection  to  them- is 
that  they  cannot  be  used  for  everything  as  glass  and  porcelain  can.  Thus, 
you  cannot  put  schist  oil  or  turpentine  into  them,  or  even  ammonia,  and 
they  are  only  good  for  acid  and  water. 

§ 18.  A sufficient  supply  of  bottles  with  glass  stoppers  for  acid  baths 
and  other  chemicals. 

§ 19.  A supply  of  chemicals,  including  nitric  acid,  hydrochloric  acid, 
perchloride  of  iron,  chlorate  of  potash,  pure  alcohol,  methylated  spirit  ot 
wine  (for  lamp),  oil  of  lavender,  schist  oil,  shale  oil,  or  petroleum  for 
cleaning,*  liquid  ammonia,  ether,  japan  varnish,  olive  oil,  asphaltum, 
white  wax,  gum  mastic,  lamp  black,  and  Bleu  d’ Argent.  This  last  is  for 
silvering  plates  for  the  positive  process.  It  can  only  be  got  in  England 
of  Mr.  Roberson,  99  Long  Acre. — See  Chemistry  of  Etching. 

§ 20.  Finger-gloves  in  India-rubber. 

§ 21.  Willow  charcoal.  If  you  cannot  get  it  conveniently  from  a 
maker  who  is  accustomed  to  prepare  it  specially  for  engravers,  you  must 
make  it.  Take  thick  sticks  of  willow,  remove  the  bark,  cut  them  into 
short  lengths,  lay  them  on  the  ground  in  a little  stack,  and  cover  them 
entirely  with  red-hot  wood  cinders,  and  on  the  cinders  heap  wood-ashes, 
so  that  no  air  can  get  to  them.  Leave  them  there  an  hour  and  a 
quarter,  or  an  hour  and  a half,  according  to  the  thickness  of  the  sticks  ; 
then  take  them  out  and  throw  them  into  cold  water. 

§ 22.  Tracing-paper. 

§ 23.  Gelatine  tracing  material.  This  is  sold  in  thin  sheets  measuring 
21  in.  by  13  in.  It  is  most  invaluable  stuff  for  all  work  that  has  to  be 
reversed.  Artists’  colourmen  in  London  supply  it.  To  use  it  you 
scratch  on  it  with  a needle,  removing  the  bur  so  raised  with  a strong 
brush,  and  afterwards  fill  the  scratches  with  black  lead  such  as  house- 
keepers use,  then,  laying  it  face  downwards  on  the  grounded  copper  you 
rub  the  back  with  a burnisher,  which  leaves  a distinct  tracing  in  com- 
paratively light  colour. 

§ 24.  Emery  paper,  the  very  finest  you  can  get. 

§ 25.  Plenty  of  good  blotting-paper,  soft  and  thick. 

§ 26.  A looking-glass  for  reversing. 

§ 27.  Printing-ink.  A special  kind  of  ink  is  made  for  plate-printing  : 
typographic  printing-ink  will  not  do  for  this  purpose.  It  is  well  to  get 
your  ink  ready-made  from  some  experienced  printer,  or  from  Mr.  Rober- 
son. It  is  most  troublesome  stuff  to  make. 

§ 28.  A dabber  made  of  cloth  rolled  into  a cylindrical  shape,  and  firmly 

* Schist  oil  is  much  the  best  cleanser.  Petroleum  is  too  volatile  for  the 
purpose,  and  benzine  is  much  too  volatile,  but  good  in  other  respects.  Turpentine 
does  not  clean  so  well  as  schist  oil,  and  is  much  dearer. 


420 


APPENDIX. 


bound  round  with  waxed  thread.  The  edges  of  the  cloth  take  the  ink, 
and  the  dabber  is  held  as  you  hold  a tumbler-glass.  This  dabber  may 
be  about  the  size  of  a pint  bottle,  and  not  unlike  it  in  shape.  When 
new,  the  end  should  be  neatly  cut  flat  with  a sharp  knife,  and  singed. 

§■29.  A plentiful  supply  of  printer’s  canvas  for  wiping  the  superfluous 
ink  from  the  plate. 

§ 30.  A small  supply  of  old  fine  muslin,  well  washed  till  it  is  quite  soft. 
This  is  used  for  what  is  called  retroussage , which  will  be  explained 
shortly. 

§ 31.  The  plate-heater  (for  heating  plates  for  printing),  which  is  a box 
of  sheet  iron.  It  may  be  two  feet  long  by  twenty  inches  wide,  and  nine 
inches  deep,  unless  you  intend  to  etch  very  large  plates,  when  of  course 
you  must  have  a heater  big  enough  to  warm  the  whole  of  your  plate  con- 
veniently at  the  same  time. 

The  inside  of  this  bo^  is  to  be  kept  full  of  hot  air,  which  may  be  easily 
managed  by  having  a hole  in  the  bottom  of  it  big  enough  to  admit  the 
chimney  of  an  ordinary  oil  or  petroleum  lamp.  If  you  have  access  to  gas 
ou  can  use  it.  French  printers,  from  tradition,  use  charcoal  cinders  in 
a flat  tray  inside  the  box,  with  ashes  over  them  to  keep  the  heat  regular 
for  a long  time.  For  occasional  use  a spirit-lamp  does  perfectly,  but  it 
would  be  expensive  to  use  it  long. 

§ 32.  A supply  of  paper  for  printing.  If  possible  you  should  get  a 
supply  of  Japanese  paper,  another  of  Dutch,  and  one  or  two  varieties  ot 
French  and  English  papers.  Paper-making  for  etchers  is  now  very  well 
understood.  If  by  chance  you  should  run  short  of  paper  at  any  time, 
and  want  to  take  a proof,  remember  that  a good  proof  may  always  be 
taken  on  any  paper  which  is  good  for  drawing  upon  in  water-colour. 

§ 33.  A marble  slab  and  muller  for  printer’s  ink.  A knife  for  the  same 
purpose,  like  a large  palette-knife. 

§ 34.  The  very  finest  whitening. 

§ 35.  A sponge  to  damp  paper. 

§ 36.  A flat  brush,  like  a clothes-brush,  to  brush  paper. 


CHAPTER  VI. 

THE  ROLLER  AND  ITS  USES. 

The  roller  is  one  of  the  great  modern  improvements  in  the  technical 
apparatus  of  etching.  It  is  a cylinder  of  wood  8^  inches  long,  by  4 inches, 
with  two  projecting  handles  in  its  axis,  each  of  them  about  an  inch 
thick,  and  4^  inches  long.  The  roller  is  covered  with  thick  smooth  leather, 
but  between  the  leather  and  the  wood  there  is  a covering  of  thick  flannel 
to  give  elasticity.  The  leather  is  joined  so  neatly  that  the  place  where  it  is 
cemented  is  hardly  perceptible.  It  is  drawn  over  tke  edges  of  the 
cylinder,  and  tightened  with  strings  like  purse-strings,  so  that  the  edges 


THE  ROLLER  AND  LTS  USES. 


421 


are  rounded  and  covered.  The  reader  will  perceive  that  although  the 
roller  is  a very  simple  machine,  only  a highly-skilled  workman  can  make 
it  perfectly  well.  The  best  are  made  by  G.  Schmautz  of  Paris,  and  they 
may  be  got  from  Cadart  of  Paris,  or  from  Mr.  Roberson  in  London. 
The  price  of  one  in  Paris  is  twenty  francs. 

The  roller  is  delivered  in  a box,  which  is  so  constructed  that  no  part 
of  the  leather  ever  touches  anything.  The  box  is  very  important  to  pro- 
tect the  instrument  from  dust,  and  the  roller  is  never  taken  out  of  its  box 
for  longer  than  just  the  time  necessary  for  its  use. 

It  was  invented  at  first  for  one  purpose  only,  namely,  to  cover  the 
plate  for  rebiting,  which  I shall  explain  shortly,  but  etchers  soon  dis- 
covered that  it  was  also  an  excellent  instrument  for  laying  the  first 
ground.  Before  its  introduction  the  dabber  had  been  used  for  both  pur- 
poses, a very  clumsy  thing  in  comparison. 

Laying  the  first  ground  with  the  roller. — In  the  list  of  things  useful 
in  the  laboratory  and  printing-room,  given  in  the  preceding  chapter,  I 
mentioned  three  pieces  of  plate-glass  (see  § 5).  They  are  extremely 
useful  when  you  employ  the  roller,  though  not  absolutely  indispensable. 
Copper-plates,  such  as  you  etch  upon,  will  answer  the  same  purpose,  and 
so  will  marble  slabs,  but  less  agreeably  to  the  operator.  I use  plate-glass 
for  its  cleanliness  and  the  perfect  flatness  of  its  surface. 

Lay  your  plate,  well-cleaned,  on  one  of  these  glasses,  and  have  the 
others  on  the  same  table  conveniently  near.  Now  take  your  bottle  of 
etching-paste,  that  is  your  Bosse  ground  made  into  paste  with  oil  of 
lavender  as  already  explained.  See  that  there  is  no  dust  on  your  glasses. 
With  a perfectly  clean  palette-knife  take  some  of  the  paste  and  spread  it 
equally  on  one  of  the  glasses  in  a horizontal  band  about  two  inches  broad. 
If  the  paste  is  too  thick  for  this  to  be  done  easily,  add  a few  drops  of  oil 
of  lavender,  and  mix  thoroughly  well  with  the  palette-knife.  N ow  take 
your  roller  and  roll  over  and  over  again  until  you  spread  a film  of  paste 
quite  evenly  on  your  glass.  If  the  roller  is  rather  over-charged  with 
paste  (you  will  easily  judge  of  this  after  a few  experiments)  pass  it  once 
on  the  other  glass  to  get  rid  of  what  is  superfluous,  then  apply  it  to  your 
copper.  You  ought  to  be  able  to  lay  a thin  and  perfectly  even  coat  of 
paste  by  this  means  upon  your  copper. 

When  the  paste  is  just  of  the  right  thickness  and  is  the  proper  quantity 
it  simply  dulls  the  surface  of  the  glass,  making  it  of  a dead  pale  brown. 
It  ought  not  to  look  like  treacle.  You  ought  to  hear  a regular  crisp  sound 
as  the  roller  passes  over  the  glass.  After  some  practice  the  ear  will  tell 
you  when  it  is  right. 

The  plate  being  now  covered  with  a film  of  paste  your  next  business 
is  to  expel  the  oil  of  lavender  from  the  etching-  ground.  The  oil  was 
merely  a vehicle  like  water  in  water-colour  painting.  It  is  easily  got  rid 
of  by  heating  the  plate  gently  over  a spirit-lamp.*  When  the  ground 

* To  do  this,  of  course  you  hold  the  plate  in  a hand-vice,  with  a bit  of  paper 
to  protect  the  polished  side  from  the  vice. 


422 


APPENDIX. 


looks  transparent  and  loses  its  dead  surface,  it  has  been  sufficiently 
heated. 

You  may  now  cover  the  back  of  the  plate  with  a little  paste  applied 
with  the  dabber. 

Whilst  the  plate  is  still  warm  you  smoke  it.  To  do  this  you  light 
your  smoking  taper  (see  preceding  Chapter,  § 7),  and  when  there  is  a large 
flame,  giving  off  smoke,  hold  your  plate  above  it  with  the  face  downwards, 
in  such  a manner  that  the  flame  may  just  touch  the  etching-ground.  Move 
the  plate  slowly  in  every  direction,  so  that  all  parts  of  its  surface  may  be 
smoked  alike,  and  none  burnt. 

After  a very  little  practice  you  will  be  able  to  ground  a plate  much 
more  easily  and  incomparably  more  perfectly  with  the  roller  than  you 
possibly  could-  with  the  dabber. 

Grounding  a plate  for  Rebiting. — It  is  well  to  practise  what  has  just 
been  described  before  attempting  to  ground  for  rebiting,  as  much  more 
skill  is  required. 

The  purpose  of  this  process  is  to  cover  and  protect  the  smooth  surface 
of  copper  between  the  lines  of  a plate  which  has  been  already  bitten,  but 
insufficiently  bitten,  in  order  that  the  lines  may  be  exposed  again  to  the 
action  of  the  acid,  and  deepened,  without  damaging  the  smooth  spaces  of 
copper  and  without  incurring  the  great  labour  which  would  be  necessary 
to  clean  the  lines  of  the  etching-ground  with  the  point,  if  they  were  filled. 

Having  cleaned  the  plate  thoroughly  with  schist-oil  and  whitening 
and  bread,  you  lay  it  as  before  on  one  of  the  glasses  and  charge  your 
roller  with  etching  paste  as  before,  taking  especial  care,  however,  this  time 
that  it  is  not  over-charged,  and  removing  what  is  superfluous  by  rolling  on 
the  second  plate-glass  if  it  is.  You  then  pass  the  roller  over  the  plate  by 
simply  pushing  the  handles  with  the  thumbs,  not  pressing  in  the  least,  as 
that  would  fill  the  shallower  lines.  Roll  over  the  plate  twice  in  one 
direction,  and  then  twice  at  right  angles  to  the  first  direction.  Nothing 
more  must  be  done.  If  this  has  been  done  properly  the  smooth  parts 
will  be  well  covered  and  the  lines  will  not  be  filled  except  perhaps  a few 
of  the  very  shallowest.  You  then  expel  the  oil  of  lavender  by  means  of 
heat,  as  before.  You  do  not  smoke  this  time.  Protect  the  back  of  your 
plate  as  before,  or  with  stopping-out  varnish,  and  the  edges  also.  You 
then  stop  out  with  the  same  varnish  all  those  parts  of  the  plate  wjiich  are 
already  sufficiently  bitten,  leaving  the  others  to  be  acted  upon  by  the  acid. 

The  old-fashioned  manner  of  rebiting  was  far  inferior  to  this.  The 
dabber  was  used,  and  instead  of  employing  the  etching-ground  in  a paste, 
according  to  the  present  practice,  it  was  melted  by  heat  on  another  copper- 
plate. The  consequence  of  this  clumsy  arrangement  was  that  shallow 
lines  were  often  filled,  and  rebiting,  except  when  very  skilfully  done,  was 
in  a great  measure  illusory.  You  could  deepen  the  lines  which  did  not 
want  deepening,  but  not  those  which  most  needed  it.  The  roller  makes 
rebiting  much  more  practical,  indeed  some  modern  etchers  bite  shallow 
at  first  on  purpose,  and  do  not  give  their  extreme  darks  until  they  nave 
seen  a proof,  when  they  get  them  by  rebiting  as  required. 


BITING. 


423 


Grounding  a plate  to  add  work  with  the  needle. — A third  and  most 
important  advantage  of  the  roller  is  that  when  the  etcher  wishes  to  add 
work  with  the  needle  he  is  not  absolutely  obliged  to  use  the  transparent 
white  ground.  The  roller  can  lay  a ground  so  very  thinly  and  evenly  that 
even  after  it  has  been  smoked  the  very  finest  lines  which  have  been 
etched  already  remain  distinctly  visible  and  the  artist  can  work  over  and 
between  them.  He  thus  sees  much  better  what  he  is  doing  than  in  a 
transparent  ground,  whilst  he  is  just  as  well  aware  of  what  has  already 
been  done.  Another  important  advantage  is  that  the  black  ground 
resists  acid  more  surely  than  the  white  one,  which  is  always  comparatively 
weak  from  the  absence  of  asphaltum  or  pitch  and  lamp-black,  besides 
which  a defective  place  is  not  so  easily  detected  in  it  as  it  is  in  the'  dark 
ground. 

If  the  reader  has  not  a roller  he  may  apply  his  first  ground  in  solution 
like  collodion,  by  dissolving  it  in  ether,  in  chloroform,  or  in  oil  of  lavender 
( see  Chapter  on  Grounds  and  Varnishes),  but  when  the  plate  has  been  etched 
upon  it  is  better  to  use  the  dabber,  either  for  rebiting,  or  for  subsequent 
work  with  the  needle,  because  a fluid  ground  would  fill  up  lines  intended 
to  be  rebitten,  and  it  does  not  properly  protect  the  edges  of  lines  which 
are  intended  to  be  quite  covered. 


CHAPTER  VII. 

BITING. 

The  weak  point  of  etching,  which  I do  not  attempt  to  dissimulate,  is  the 
difficulty  of  biting  accurately  enough,  that  is  to  the  exact  degree  of  depth 
which  the  artist  would  desire.  There  is  always  an  element  of  hazard  in 
the  biting,  but  our  object  ought  to  be  at  least  the  reduction  of  risk  if  we 
cannot  get  rid  of  it  altogether. 

The  reader  is  now  fore-warned  that  he  is  to  expect  difficulties  and  dis- 
appointments at  this  stage  of  the  process  ; at  the  same  time  certain 
devices  will  be  explained  by  which  these  difficulties  have  been  much 
reduced. 

The  qualities  of  a satisfactory  biting  are  : — 

§ 1.  To  be  instantaneous  and  simultaneous  in  the  first  attack.  Some 
lines  on  the  plate  ought  not  to  be  biting  whilst  others  are  not  yet  affected 
by  the  acid,  for  if  this  occurs  the  balance  of  the  work  will  be  destroyed, 
even  though  the  lines  which  were  untouched  at  first  should  be  attacked 
subsequently. 

§ 2.  To  be  regular  in  its  operation.  The  biting  ought  not  to  go  on 
quickly  for  some  time  and  then  slowly,  nor  ought  it  to  stop  altogether 
except  at  the  will  of  the  operator. 

§ 3.  It  ought  to  eat  the  lines  in  depth  and  not  in  breadth  (or  as  little  as 


424 


APPENDIX : 


possible)  unless  the  artist  desires  to  increase  their  breadth,  when  the  acid 
ought  to  do  what  he  wishes. 

§ 4.  The  biting  ought  to  be  well  under  the  control  of  the  operator 
from  beginning  to  end. 

Now  let  me  explain  some  causes  which  often  prevent  these  desiderata 
from  being  realised. 

First  with  regard  to  § 1.  Etchers  often  suffer  from  the  great  annoy- 
ance of  seeing  their  plate  attacked  unequally.  Some  lines  will  be  quite 
deeply  bitten,  whilst  others  are  not  bitten  at  all.  The  consequence  in  the 
proof  may  be  imagined.  A plate  which  was  harmonious  in  the  drawing 
looks,  in  the  printing,  like  the  shattered  fragments  of  a ruined  inscription. 
All  its  tones,  too,  have  gone  wrong,  and  it  must  either  be  repaired  at  the 
cost  of  great  labour,  or  else  begun  over  again,  with  the  risk  of  a similar 
misadventure.  What  is  the  reason  for  this?  M.  Flameng  gave  it  as  his 
opinion  that  the  cause  was  too  great  adhesiveness  in  the  ground  ; M. 
Greux,  on  the  other  hand',  thought  that  the  true  reason  was  the  state  of 
the  copper  before  the  ground  was  laid,  which  in  his  own  case  he  con- 
tended against  by  bathing  it  in  acid  and  water,  till  water  dropped  upon  it 
would  spread , and  not  run  off  in  globules.  I suffered  at  one  time  greatly 
from  this  annoyance,  so  much  that  it  seemed  as  if  there  were  an  evil  spell 
upon  my  plates,  for  the  acid  attacked  the  lines  irregularly  here  and  there 
in  patches,  or  one  line  would  be  bitten  and  the  one  next  to  it  (although 
apparently  drawn  in  the  same  way)  would  resist  the  action  of  the  acid  for 
several  hours.  I therefore  made  many  experiments  on  etching-grounds, 
especially  with  regard  to  the  quality  of  adhesiveness,  and  I found  in 
accordance  with  M.  Flameng’s  opinion  that  the  less  adhesiveness  there 
was  in  the  ground,  the  less  was  the  liability  to  an  irregular  attack  in  the 
biting.  This  is  why  I recommend  Bosse’s  ground.  It  is  sufficiently 
adhesive  but  not  too  much  so,  and  therefore  the  etching-point  easily 
removes  it  from  the  true  surface  of  the  copper.  "W  hen  the  adhesion  is 
excessive,  the  paint  may  often  leave  a thin  film  of  ground  upon  the 
copper  not  perceptible  to  the  eye,  but  enough  to  defend  it  against  acid. 
But  in  addition  to  this  I took  two  other  precautions.  First,  I determined 
that  the  surface  of  the  copper  should  take  water  well  before  being 
grounded,  and  found  that  the  following  treatment  effected  this  better 
than  anything  else. 

1.  Bathe  the  plate  in  the  Dutch  mordant  ( see  Chap.  IV.)  for  five 
minutes,  or  till  it  is  all  stained  dark. 

2.  Wash  it  well  in  clean  water. 

3.  Bathe  it  in  a mixture  of  equal  parts  of  liquid  ammonia  and  water 
till  the  copper  shows  red  all  over. 

4.  Wash  it  well  in  clean  water  and  leave  it  in  the  water  for  half-an- 
hour. 

After  this  treatment  the  surface  of  the  copper  offers  no  resistance  to 
water,  but  can  be  really  wetted.  It  will  therefore  not  resist  an  immediate 
attack  of  acid  in  the  acid  bath  if  laid  bare  by  the  point. 

I dry  the  plate  over  the  spirit-lamp  and  do  not  touch  it  with  any  rag. 


BITING. 


425 


but  remove  dust  with  a clean  camel-hair  brush  just  before  applying  the 
ground  with  the  roller. 

After  adopting  this  system  I had  no  more  accidents  of  the  kind 
described  above,  but  to  make  assurance  doubly  sure  I forced  myself  into 
the  habit  of  cutting  into  the  copper  itself  with  the  etching-point.  If  an 
etcher  were  always  quite  sure  of  doing  this  it  would  be  unnecessary  for 
him  to  trouble  himself  with  precautions  about  the  surface  of  the  copper 
— he  need  not  even  clean  it,  but  in  the  excitement  of  rapid  work, 
especially  when  it  is  done  from  nature,  one  is  apt  to  forget  to  cut  into 
the  copper,  so  that  it  is  well  to  be  sure  about  the  state  of  its  surface  also. 
The  reader  is  now  in  full  possesssion  of  means  which  will  enable  him  to 
contend  against  one  of  the  greatest  inconveniences  which  can  occur  to 
him. 

Now  as  to  the  requirement  § 2,  regularity  of  operation.  Is  there 
danger  of  irregularity?  Yes,  there  is.  What  are  the  causes  of  it? 
There  are  two  or  three  causes,  so  we  will  take  one  at  a time.  One  cause, 
then,  is  a difference  of  temperature.  You  have  founded  your  calculations 
about  the  effects  of  biting  upon  an  experiment  performed  under  a certain 
temperature.  You  afterwards  bite  a plate  under  another  temperature 
and  are  surprised  to  find  the  result  different  from  what  you  expected  it  to 
be.  But  you  ought  not  to  be  surprised,  for  temperature  is  like  the 
regulator  of  a watch  which  makes  it  go  fast  or  slowly.  Heat  makes 
the  acid  bath  bite  fast,  cold  makes  it  bite  slowly.  Evidently,  then, 
there  is  a very  simple  way  of  obtaining  regularity  so  far  as  heat  can  effect 
it,  and  that  is  to  keep  your  bath  artificially  at  the  same  heat  by  means  of 
a thermometer  and  a lamp.  I place  my  porcelain  tray  that  contains  the 
bath  on  the  plate-warmer  which  is  commonly  used  to  warm  plates  for 
printing.  I put  the  lamp  under  it  and  regulate  the  heat  of  the  bath 
to  ninety  degrees  Fahrenheit,  just  as  if  I were  giving  a warm  bath  to  a 
delicate  patient.  I keep  it  steadily  to  that  heat  * till  the  whole  operation 
is  over,  and  by  this  means,  whether  in  the  height  of  summer  or  the  depth 
of  winter,  I know  what  is  done  in  a given  time.  Here,  again,  one  of  the 
commonest  causes  of  miscalculation  is  entirely  obviated  by  the  simplest 
means. 

There  is  a peculiarity  about  biting  with  nitric  acid  which  requires  to 
be  noted,  for  it  cannot  be  got  over.  When  many  lines  are  close  together, 
as  in  close  shading,  they  bite  sooner  than  when  isolated.  Biting  begins 
in  the  closest  work,  and  attacks  the  most  isolated  lines  last.  It  creeps 
into  some  lines  gradually  by  a sort  of  contagion  from  some  piece  of  close 
shading,  as  an  epidemic  disease  spreads  into  the  thinly-peopled  country 
from  dense  centres  of  population.  The  Dutch  mordant  and  perchloride 
of  iron  both  attack  more  regularly. 

Another  cause  of  miscalculation  is  this.  The  bath  may  be  very  strong 
at  first  and  then  rapidly  weaken.  I will  take  an  extreme  instance. 

* You  need  not  put  your  thermometer  into  the  acid.  You  can  have  a smaller 
vessel  on  the  same  plate-warmer,  containing  pure  water  as  an  indicator. 


426 


APPENDIX. 


Suppose  you  apply  nitric  acid  quite  pure,  with  a brush  ; the  ebullition  is 
most  violent  at  the  beginning  and  the  action  of  the  acid  is  tremendous, 
but  in  a short  time  its  energy  is  expended,  it  has  taken  up  so  much  copper 
that  it  can  dissolve  no  more  and  you  have  simply  a thick  nitrate  of  copper 
lying  on  the  surface  of  your  plate.  Here  the  energy  is  great  at  the 
beginning  and  gradually  but  swiftly  lessens  ; evidently,  then,  you  are  not 
to  count  upon  the  action  of  such  a bath  as  if  it  were  regularly  continuous. 
The  same  thing  occurs  in  all  cold  baths  in  minor  degrees,  and  now  how 
are  we  to  combat  it  ? 

First,  we  may  observe  that  the  quicker  and  more  energetic  the  action, 
the  quicker  also  is  the  decline  of  power  in  the  bath,  we,  therefore,  do  well 
to  choose  mordants  which  operate  slowly,  such  as  the  Dutch  mordant. 
Again,  the  smaller  the  quantity  of  the  mordant  the  sooner  it  becomes 
charged  with  copper  and  weakened  in  its  action.  It  is,  therefore,  an 
excellent  rule  to  have  deep  and  large  trays  for  the  baths,  and  put  a great 
quantity  of  mordant  into  them.  We  can  also  refresh  the  bath  from  time 
to  time  by  pouring  out  a part  of  it  and  adding  fresh  mordant.  Is  there 
any  means  of  ascertaining  how  much  the  bath  has  been  weakened  ? Yes, 
just  as  the  thermometer  informs  you  of  its  strength,  so  far  as  heat  affects 
it,  so  the  colour  informs  you  of  its  condition  as  to  absorption  of  copper. 
When  it  becomes  of  a very  dark  green  you  know  that  it  has  dissolved 
much  copper  and  weakened  itself  accordingly.  Therefore,  just  as  you 
keep  up  to  one  temperature  keep  to  one  colour,  a rich  green,  neither  pale 
nor  dark.  Mind  that  the  depth  of  the  bath  is  always  the  same,  or  you 
will  not  be  able  to  judge  of  the  green.  In  the  warm  bath  evaporation 
concentrates  the  chlorate  solution  and  so  counteracts  the  weakening. 

We  have  said  that  the  action  of  the  bath  ought  not  to  stop  altogether 
except  at  the  will  of  the  operator.  The  inexperienced  reader  will  be 
much  surprised  to  hear  that  such  a thing  ever  occurs,  but  it  does  occur 
with  all  mordants.  The  lines,  for  some  reason  which  we  will  endeavour 
to  ascertain  when  speaking  of  the  chemistry  of  etching,  are  hollowed 
down  to  a certain  depth  but  then  the  acid  strikes  work  and  eats  no 
farther.  A safe  practical  precaution  against  this  is  to  take  your  plate 
out  of  the  Dutch  mordant  from  time  to  time,  put  it  in  pure  water  of  the 
same  temperature  (plenty  of  water  in  a big  tray),  wash  it  thoroughly  for  a 
quarter  of  an  hour,  and  brush  into  all  the  lines  lightly  but  effectually  with 
a camel-hair  brush.  If  we  could  add  ammonia  to  the  water  it  would  be 
still  better,  but  we  cannot,  because  ammonia  spoils  the  etching-ground 
and  causes  it  to  come  off  in  flakes. 

We  may  now  pass  to  § 3.  We  said  that  the  acid  ought  to  eat  the  lines 
in  depth  and  not  in  breadth  (or  as  little  as  possible)  unless  the  artist 
desires  to  increase  their  breadth,  when  the  acid  ought  to  do  what  he 
wishes. 

This  is  almost  entirely  in  our  own  power.  Powerful  acid  baths  which 
cause  ebullition , as,  for  example,  a strong  nitric  bath,  greatly  increase 
the  breadth  of  lines  whilst  they  bite.  Baths  which  operate  slowly  and 
without  ebullition,  such  as  the  Dutch  mordant  and  perchloride  of  iron, 


BITING. 


427 


bite  in  depth  without  much  disturbing  the  edges  of  the  lines,  unless  the 
etching-ground  is  very  weak.  For  example,  the  Dutch  mordant  will  not 
eat  much  into  , the  edges  of  the  lines  when  the  plate  is  well  covered 
with  Bosse’s  ground,  but  it  widens  them  much  and  steadily  when  the 
plate  is  only  covered  with  a thin  coat  of  pure  white  wax  applied  in  solu- 
tion. Pure  nitric  acid,  on  the  other  hand,  widens  lines  always  and 
enormously,  upheaving  all  the  small  patches  of  ground  which  are  left  be- 
tween the  lines  and  carrying  them  away.  The  reader  now  perceives 
that  with  different  mordants  and  grounds  we  have  the  power  of  widening 
lines  or  not  as  it  pleases  us.  In  some  cases  it  is  necessary  to  do  so,  and 
then  we  choose  either  a weak  ground  (as  in  my  positive  process)  or  else 
a strong  ebullient  mordant  such  as  nitric  acid.  In  general  practice  it  is 
however  most  desirable  that  lines  should  remain  as  nearly  as  possible 
such  as  they  were  originally  drawn  ; hence  the  Dutch  mordant  and  the 
perchloride  of  iron  mordant  are  precious  resources  for  an  etcher.  A deep 
narrow  line  prints  clear,  pure,  and  intensely  black,  it  therefore  greatly 
helps  to  give  a brilliant  appearance  to  an  etching. 

The  reader  is  especially  requested  to  remember  that  lines  are  always 
sure  to  be  enlarged  in  rebiting,  because  the  ground  applied  for  that 
purpose  is  always  necessarily  very  thin,  and  it  is  not  smoked.  It  is  there- 
fore prudent  to  use  the  Dutch  mordant  for  rebiting,  or  a dilution  of  per- 
chloride of  iron,  and  to  heat  the  bath  little,  say  to  70  degrees,  except  in 
cases  where  an  enlargement  of  the  lines  is  thought  necessary  to  the  rich- 
ness of  the  effect,  as  it  sometimes  may  be. 

We  said  (§  4)  that  the  biting  ought  to  be  well  under  the  control  of  the 
operator  from  beginning  to  end. 

This  is  already  to  a great  extent  insured  by  the  precautions  I have 
already  indicated,  but  still  farther  precautions  may  be  taken  with  advan- 
tage. An  excellent  one  is  to  have  a tell-tale  or  indicator  in  the  same 
bath  with  the  plate.  This  is  a slip  of  copper-plate  of  the  same  quality 
and  covered  with  the  same  ground.  The  etcher  draws  upon  this  a 
quantity  of  lines  and  shading  resembling  in  quality  the  lines  and  shading 
upon  his  plate.  The  tell-tale  is  then  put  into  the  bath  along  with  the 
plate,  and  from  time  to  time  it  is  taken  out  and  a portion  of  the  ground 
removed,  when  the  etcher  sees  at  once  what  the  acid  has  been  doing,  and 
can  judge  whether  it  is  time  to  stop  out  portions  of  the  plate  itself.  To 
make  assurance  doubly  sure,  he  ought,  however,  before  stopping-out,  to 
remove  a little  ground  with  the  scraper  from  the  portion  of  the  plate 
which  he  thinks  is  sufficiently  bitten,  in  order  to  see  positively  that  it  is 
so.  Even  then  it  will  require  some  practice  before  he  can  really  know 
the  state  of  his  plate  by  seeing  a little  bit  of  the  bare  copper. 

It  is  better  to  underbite  a plate  in  the  darks  than  to  overbite  it,  because 
if  underbitten  in  these  lines  it  is  easily  darkened  afterwards  by  rebiting, 
whereas  when  they  are  too  much  bitten  it  is  difficult  to  reduce  them 
without  spoiling  the  quality  of  any  finer  lines  that  may  happen  to  be  in 
their  immediate  neighbourhood. 

It  is  better,  on  the  other  hand , to  overbite  light  and  pale  passages  than 


428 


APPENDIX. 


to  underbite  thejn , for,  if  they  are  underbitten  it  is  most  difficult,  if  not 
altogether  impossible,  to  rebite  them,  because  you  can  hardly  ever  cover 
the  plate  with  etching-ground  without  filling  them  up,  whereas,  on  the 
other  hand,  they  are  very  easily  reduced  when  overbitten,  either  by  char- 
coal or  simply  with  the  scraper  and  burnisher. 

In  concluding  this  part  of  the  subject  let  me  warn  the  reader  against 
two  evils  common  in  the  work  even  of  clever  men, pitting,  and  rotten  lines. 
Pitting  is  the  occurrence  of  involuntary  dots  which,  if  neglected,  get  very 
deeply  bitten  and  cannot  then  be  removed  without  spoiling  the  work 
round  them — rotte?i  lines  are  lines  which  were  intended  to  be  continuous, 
but  which  show  interruptions  and  involuntary  differences  of  quality. 

Pitting  may  be  due  to  impurities  in  the  materials  of  which  the  etching- 
ground  is  composed,  that  is,  there  may  be  minute  particles  of  foreign 
matter  imperceptible  to  the  naked  eye  but  soluble  in  acid.  Minute  pitting 
is  produced  purposely  in  this  way  in  aquatint  engraving.  Asphaltum,  it 
appears,  is  usually  more'  or  less  impure,  containing  various  foreign  sub- 
stances which,  being  soluble  in  mordants,  expose  a plate  to  spotting.  To 
purify  asphaltum  the  following  method  has  been  proposed  by  M.  Deles- 
champs.  It  may  be  powdered,  and  washed  in  water  acidulated  with  hydro- 
chloric acid.  This  dissolves  the  metallic  oxides,  and  organic  substances 
float  on  the  surface  and  may  be  removed.  The  asphaltum  is  then  dried, 
reduced  to  a very  fine  powder,  and  passed  through  a fine  silk  sieve  ; this 
retains  the  siliceous  particles,  and  the  asphaltum  is  now  pure.  White 
wax  is  occasionally  adulterated  with  potato  powder.  It  is  quite  pure  in 
the  clear  ether  solution,  and  accordingly,  in  my  positive  process,  although 
the  ground  is  of  the  most  extreme  tenuity,  pitting  never  occurs.  Pitting 
may  sometimes  be  caused,  when  gelatine  paper  has  been  used  for  tracing, 
by  the  pressure  of  the  burnisher,  which  has  either  penetrated  the  ground 
in  consequence  of  little  specks  of  roughness  on  the  gelatine,  or  else 
removed  adhesive  little  specks  of  roughness  in  the  ground  itself. 
Either  cause  is  quite  enough  to  expose  the  copper,  and  yet  the  naked  eye 
may  not  perceive  it.  Now,  although  pitting  may  be  of  very  little  conse- 
quence in  some  parts  of  a plate,  it  may  be  its  ruin  if  it  occurs  in  others — 
in  a face,  for  example.  The  best  way  to  avoid  it,  after  taking  due  pre- 
cautions to  get  pure  chemicals,  is  to  put  the  plate,  before  biting  seriously, 
into  a weak  mixture  of  nitric  acid  and  water.  Dutch  mordant  darkens 
lines,  and  pitting  in  a black  ground  is  not  perceptible  to  the  eye  when 
this  mordant  is  used.  Nitric  acid  cleans  copper  and  shows  it  light. 
Whilst  the  plate  is  in  the  bath  examine  it  well,  and  after  a few  minutes 
remove  it  to  a bath  of  pure  water  and  pass  a camel-hair  brush  all  over 
it.  In  the  water  you  will  discover  pitting  if  it  exists,  but  to  help  yourself 
use  a strong  magnifying-glass.  Remove  from  the  bath  and  stop-out  all 
the  spots  with  stopping-out  varnish.  The  slight  biting  which  has  been 
caused  by  the  weak  nitric  bath  is  easily  removed  with  emery  paper  after 
the  plate  is  bitten. 

The  commonest  cause  of  rotten  lines  is  this.  The  point,  instead  of 
removing  the  whole  of  the  ground  along  its  passage,  has  only  partiallv 


STOPPING-OUT. 


429 


removed  it,  so  that  the  copper  has  been  protected  here  and  there. 
Wherever  it  was  protected  there  are  necessarily  interruptions.  Another 
cause  may  be  that  some  foreign  substance  has  been  allowed  to,  get  into 
the  line  after  it  was  drawn — bits  of  loose  etching-ground  may  have  got 
into  it,  or  grease  of  some  kind,  perhaps  from  'the  etcher’s  own  fingers, 
tf  he  has  not  used  a hand-rest. 

As  a proof  of  what  a very  delicate  affair  biting  is,  let  me  tell  the 
reader  an  anecdote.  I had  drawn  two  elaborate  little  plates  and  left  them 
on  my  table,  forgetting  to  put  them  in  a protected  place.  A hot  summer 
sun  came  and  looked  in  upon  them — the  sun  of  a Burgundy  July — and  so 
the  plates  were  heated  and  the  ground  softened.  Still  the  drawing  looked 
perfectly  clear,  so  the  plates  were  put  into  a cool  place  and  resumed  their 
former  appearance.  When  it  came  to  the  biting,  however,  lo  ! it  was 
impossible  ! The  sun,  in  heating  the  plates,  had  caused  something  to 
ooze  out  of  the  etching-ground  and  varnish  the  lines — imperceptibly  to 
the  eye,  but  quite  sufficiently  to  protect  them  against  the  acid  bath.  A 
plate  which  is  drawn  upon  should  be  kept  in  a safe  covered  place  until 
it  is  bitten,  and  should  be  bitten  as  soon  as  possible  after  it  is  drawn. 
Plates  may  be  kept  in  shallow  well-fitting  drawers,  or  in  wooden  trays 
that  may  be  laid  one  upon  another. 

It  is  a good  precaution,  whilst  etching,  to  clear  away  all  the  loose  bits 
of  etching-ground  with  a camel-hair  brush,  so  that  you  may  not  be  tempted 
to  use  the  little  finger,  which  would  often  choke  the  line. 

When  you  bite  a plate  with  nitric  acid,  small  bubbles  of  gas  arise  in 
the  lines.  If  you  leave  these  undisturbed,  they  will  cause  interruptions 
in  the  lines,  because,  where  the  gas-bubble  protects  the  copper,  the  acid 
no  longer  bites.  It  is  therefore  necessary,  in  using  the  nitric  bath,  to 
remove  these  bubbles  continually  with  a small  feather. 


CHAPTER  VIII. 

STOPPING- OUT 

The  best  stopping-out  varnish  has  been  already  described  at  the  end  of 
the  Chapter  on  Grounds  and  Varnishes,  and  also  the  way  to  use  it,  but  I 
wish  to  add  a few  practical  hints  which  may  be  of  service. 

It  is  a good  principle  to  keep  lengths  of  biting  very  distinct  from  each 
other.  It  is  not  wise  to  trust  to  biting  much  for  gradation.  Minute  dif- 
ferences of  shade  can  hardly  ever  be  insured  by  stopping-out.  For 
example,  if  an  etcher  were  to  stop-out  after  every  five  minutes  of  exposure 
to  the  Dutch  mordant,  much  of  his  labour  would  be  thrown  away. 

Let  me  be  quite  absolutely  frank  with  the  practical  reader  on  this 
subject.  Some  account  of  personal  experience  is  best  in  a matter  of  this 
kind. 

In  theory  a shade  bitten  twenty  minutes  and  a shade  of  exactly  the 


43° 


APPENDIX. 


same  kind  bitten  thirty  minutes,  ought  to  be  very  different  in  the  printing 

the  latter  ought  to  be  much  the  darker  of  the  two.  In  practice  they 

may  be  exactly  the  same. 

I was  etching  a plate  at  the  beginning  of  this  year,  after  many  years 
of  experience  in  these  matters,  and  it  had  a dark  back-ground  entirely 
shaded  in  the  same  way.  To  get  two  different  shades  I bit  half  the  back- 
ground for  twenty,  and  the  other  half  for  thirty  minutes.  The  result  in 
the  printed  proof  was  a shade  of  precisely  the  same  tone  and  quality 
throughout. 

But  now  observe  a very  curious  thing.  I lowered  the  whole  surface 
of  the  copper  with  charcoal,  and  by  this  means  got  the  difference  of  shade 
which  I desired,  for  now  the  part  which  had  been  bitten  thirty  minutes 
showed  distinctly  as  much  darker  than  the  other. 

What  did  this  prove?  It  proved  that  the  part  which  had  remained 
longer  than  the  other  m the  acid  had  really  been  bitten  deeper,  but  at 
the  same  time  there  was  the  evidence  of  the  first  printed  proof  that  this 
difference  of  depth  in  the  lines  made  no  difference  in  the  printing. 

Again.  It  has  happened  to  me  not  once  nor  twice,  but  many  times, 
to  try  to  get  gradations  in  skies  by  stopping-out  narrow  bands  from  the 
horizon  upwards  as  the  biting  proceeded,  and  yet  the  result  has  been  that 
the  shade  was  pretty  nearly  the  same  all  over,  so  that  the  stopping-out 
was  a waste  of  time,  for  one  biting  would  have  sufficed  for  the  result 
obtained. 

These  are  facts  of  positive  experience,  not  theories.  They  are 
directly  contrary  to  the  received  theory  of  the  subject.  Can  we  get  a 
sound  explanation  of  these  facts  ? 

A deep  etched  line  does  not  deliver  all  its  ink  to  the  paper.  The 
evidence  of  this  is  that  when  a proof  has  just  been  taken,  the  plate  still 
remains  so  much  charged  with  Ink  that  much  ink  comes  out  of  the  lines 
if  we  cleanse  them  with  petroleum  and  a brush.  A narrow  line,  moderately 
deep,  gives  as  much  ink  .to  the  paper  as  it  can  give,  and  you  will  not 
make  the  line  any  blacker  by  deepening  it  still  farther. 

When  lines  are  much  widened  at  the  same  time  that  they  are  deep- 
ened, they  give  off  more  ink  because  the  paper  is  forced  more  into  them. 
In  Turner’s  etchings  the  lines  are  embossed  by  the  press.  It  follows  from 
this  that  with  effervescing  mordants,  such  as  the  nitric  bath,  which  widen 
the  lines,  finer  distinctions  of  biting  may  be  usefully  observed  than  with 
the  quiet  mordants  which  widen  the  line  but  little. 

My  advice  is  not  to  stop-out  a plate  more  than  twice  or  three  times 
before  removing  the  ground  and  taking  a proof.  I have  often  been  asked 
by  young  etchers  to  give  some  fixed  scheme  of  biting  for  their  guidance. 
I adapt  the  following  from  a paper  which  I wrote  and  fastened  on  the  wall 
of  my  own  laboratory.  The  reader  will  perceive  that  it  is  for  an  elaborate 
plate,  a simple  one  may  be  carried  through  with  much  less  trouble.  The 
reader  will  also  perceive  that  very  few  bitings  are  given  before  a proof  is 
taken,  and  that  the  plate  is  often  proved. 


STOPPING-OUT 


43i 


SCHEME  OF  ETCHING. 

Dutch  bath  heated  on  plate-warmer  to  ninety  degrees  Fahrenheit. 

§ 1.  The  plate  is  covered  with  Bosse’s  ground.  The  etcher  has  drawn 
upon  it  all  the  most  important  organic  markings  upon  which  the  life 
and  meaning  of  his  work  depend  ; the  frontispiece  to  this  volume 
is  an  example  of  such  markings.  He  immerses  the  plate  for  fifteen 
minutes,  then  stops-out  al  1 the  lightest  markings  in  distances,  etc.,  after 
which  he  immerses  for  twenty  minutes  more,  and  stops-out  the  middling 
ones,  which  are  not  to  be  very  dark.  Finally  he  immerses  thirty-five 
minutes  for  the  darkest  and  strongest  lines.  The  account,  therefore, 
stands  thus  : — 

15  min.  20  min.  35  min. 

This  represents  the  immersions,  but  the  total  of  time  during  which 
the  acid  has  acted  is 

15  min.  35  min.  70  min. 

§ 2.  A proof  having  been  taken,  the  plate  is  now  grounded  again  and 
smoked  as  before,  care  being  taken  to  fill  up  the  lines  sufficiently  for  their 
protection. 

All  strong  shading  is  now  added  to  the  plate  with  the  point,  but  nothing 
else.  It  goes  through  three  immersions  as  before,  with  stoppings-out 
between  the  first  and  second  and  the  second  and  third  wherever  the 
shading  may  appear  sufficiently  bitten.  These  immersions  are — 

10  min.  15  min.  25  min. 

which  give  in  totals 

10  min.  25  min.  50  min. 

§ 3.  The  ground  having  been  again  removed  and  another  proof  taken, 
the  etcher  has  before  him  a plate  consisting  of  nothing  but  organic  lines 
and  strong  shading.  If  it  has  been  well  done  it  will  have  a firm  and  manly 
look,  but  it  will  be  wanting  in  delicacy.  Parts  of  it  will  require  a veil  of 
tender  shade.  He  will,  therefore,  cover  the  plate  again  and  shade  it 
wherever  required  with  a fine  needle.'  The  bitings  are  now  reduced  to 
two, 

3 min.  6 min. 

giving  in  totals 

3 min.  9 min. 

§ 4.  The  ground  having  been  removed  once  more  and  a proof  taken,  the 
next  question  is — Do  any  parts  of  the  work  require  an  increase  of  force? 
If  they  do,  it  is  to  be  got  by  rebiting  in  the  lines  already  made,  which  has 
been  clearly  explained  in  the  chapter  on  the  use  of  the  roller.  The  etcher 
will,  of  course,  previously  stop-out  all  those  parts  which  he  does  not  desire 
to  have  rebitten,  and  he  will  use  his  own  judgment  about  stopping-out 
other  parts  after  more  or  less  immersion. 

§ 5.  Even  when  a plate  is  in  the  advanced  condition  supposed  in  the 
present  case  it  may  still  require  improvement  of  a particular  kind.  Its 


432 


APPENDIX. 


parts  may  require  to  be  better  brought  together,  it  may  be  wanting  in  that 
great  quality  of  art — unity.  This  is  to  be  attained  most  easily  by  careful 
retouching  of  parts,  when  you  can  see  the  whole  of  what  has  been  already 
done,  and  in  order  to  do  that,  the  plate  ought  to  be  covered  with  a trans- 
parent, or  what  is  called  a “ white  ” ground  ( see  Chapter  on  Grounds). 
But  here  we  have  to  encounter  a very  serious  difficulty.  It  is  very  easy 
to  apply  a safe  white  ground  to  a smooth  plate,  but  very  difficult  to  make  it 
safe  on  a plate  where  there  are  deep  lines  already.  The  reason  is  that 
the  ground  is  always  very  thin  and  weak  (unless  great  care  is  taken)  on 
the  jagged  edges  of  the  hollows,  which  are  soon  exposed  to  the  action  of 
acid,  and  when  once  they  are  attacked  the  disease  spreads  rapidly. 
Suppose  a plain  traversed  by  deep  ditches  and  covered  with  snow.  There 
may  be  plenty  of  snow  in  the  ditches  and  on  the  flat  surface,  but  there 
will  not  be  so  much  just  on  the  angle  between  the  two.  The  safest  way 
is  to  apply  the  white  ground  with  the  brush,  plentifully,  as  it  fills  the 
hollows  well,  and  when  one  coat  is  dry  you  can  give  a second,  using  the 
brush  at  right  angles  to  the  first  direction  in  which  you  used  it.  If  heat 
is  used  to  expel  the  oil  of  lavender,  it  must  be  with  the  greatest  care,  and 
only  just  enough  for  the  purpose,  for  when  the  ground  is  melted  it  always 
by  a sort  of  repulsion,  avoids  those  very  edges  and  angles  which  most 
need  its  protection.  Suppose,  however,  that  you  have  succeeded  in  cover- 
ing your  plate  safely,  the  next  thing  is  to  etch  upon  it,  and  by  far  the  most 
convenient  way  for  seeing  what  you  do  is  to  put  the  plate  in  a bath  of 
Dutch  mordant,  not  heated  this  time  (as  it  is  not  desirable  that  its  action 
should  be  accelerated)  and  do  what  you  have  to  do  whilst  the  plate  is  in 
the  bath,  using  a fine  needle  (which  the  acid  itself  will  keep  sharp  for  you) 
and  beginning  with  the  darkest  parts,  passing  gradually  to  the  lightest. 
When  the  last  are  finished  you  must  take  the  plate  out  at  once  and  get  a 
proof.  Old-fashioned  etchers  always  treat  this  process  as  if  it  were 
merely  a display  of  temerity  (as  if  one  made  displays  of  temerity  in  the 
solitude  of  his  own  laboratory),  but  there  are  most  substantial  reasons  for 
its  use.  In  the  first  place  what  you  do  in  the  transparent  ground  becomes 
immediately  visible,  because  the  Dutch  mordant  darkens  the  line  as  soon 
as  it  is  drawn,  and  so  lets  you  see  it  in  its  relation  to  other  lines.  Next, 
you  can  get  various  depths  of  biting  at  different  parts  of  your  work, 
without  the  time  and  labour  of  several  different  stoppings-out.  What- 
ever may  be  the  (not  very  valuable)  opinion  of  those  who  have  never 
tried  it,  I recommend  this  part  of  the  process  after  much  personal 
experience  of  its  utility. 

§ 6.  The  plate  is  now  nearly  finished,  but  a certain  refinement  may 
be  given  to  it  by  the  use  of  the  dry  point,  that  is  by  engraving  with  a 
steel  point  sharpened  to  a cutting  edge.  In  light  parts  the  very  thin  pure 
lines  which  can  be  got  by  this  means  are  often  of  great  value,  especially  in 
skies.  In  darker  parts,  the  bur  raised  by  the  instrument  is  useful  for  a 
certain  softness  and  richness,  but  it  is  not  much  to  be  relied  upon  if  a 
large  edition  has  to  be  printed. 

This  sketch  of  a system  of  etching  is  merely  intended  as  a guide  for 


AUXILIARIES. 


433 


beginners  in  elaborate  plates.  A proficient  artist  usually  goes  on  without 
method,  and  employs  this  or  that  process  just  when  he  needs  it  or  thinks 
it  would  suit  the  convenience  of  the  moment.  In  working  from  nature 
one  cannot  wait  for  successive  bitings,  everything  has  to  be  drawn  whilst 
there  is  an  opportunity  for  drawing  it.  The  consequence  is  that  stopping- 
out,  in  these  cases,  becomes  a long  and  tedious  business  ; to  do  it  well  you 
require  a very  fine  small  camel-hair  brush,  fluid  stopping-out  varnish,  and 
endless  patience.  The  task,  for  instance,  of  separating,  by  stopping-out, 
the  branches  of  a tree  in  the  foreground  from  those  of  others  behind  it  in 
the  middle  distance,  could  never  be  performed  satisfactorily  by  a hurried 
or  irritable  artist. 


CHAPTER  IX. 

AUXILIARIES . 

§ i.  The  Dry  Point,  mentioned  in  the  last  chapter,  and  to  which  I shall 
return  in  a chapter  devoted  specially  to  its  use,  is  an  auxiliary  of  great 
value  which  all  approve  and  recognise.  There  are,  however,  other 
auxiliaries  more  or  less  generally  approved  of.  ( See  Chapter  XII.) 

§ 2.  The  Burin. — Much  may  often  be  done  with  the  engraver’s  burin  to 
correct  or  reinforce  a plate,  especially  in  the  shadows,  but  even  if  the 
artist  has  the  skill  to  use  .this  very  difficult  instrument,  he  is  much  exposed 
to  a serious  artistic  danger.  He  may  put  so  much  burin  work  into  a 
plate  that  he  will  not  be  able  to  harmonise  it  properly  with  the  etched 
work,  and  then  there  will  be  the  fatal  result  of  ruin  by  discord,  like  the 
permanent  misery  of  a quarrelling  married  couple.  It  is  not  six  months 
since  I engraved  a sky  altogether  with  the  burin,  and  had  to  efface  it 
entirely,  because  of  its  technical  dissonance  with  the  etched  work  in  the 
same  plate,  though  the  engraved  sky  was  of  better  quality  in  many 
respects  than  the  etched  one  which  I substituted  for  it.  The  burin  is 
often  extremely  tempting  for  re-touches,  as  you  have  not  to  take  trouble 
about  re-grounding  and  biting,  and  you  see  what  you  do  at  once.  Burins 
are  kept  very  sharp,  and  pushed  with  the  palm  of  the  hand. 

§ 3.  The  Roulette. — This  is  a very  little  wheel  with  a broad  circumfer- 
ence, which  is  cut  into  sharp  points.  As  the  wheel  runs  on  the  surface  of 
the  copper  it  makes  dots,  all  of  which  are  visible  in  the  printed  proof. 
It  raises  a small  bur,  which  has  exactly  the  quality  of  mezzotint,  and  in 
fact  is  mezzotint. 

Many  lovers  of  etching  have  a strong  prejudice  against  the  roulette, 
but  I notice  that  they  sometimes  admire  the  result  obtained,  whilst 
blaming  the  means  used  as  illegitimate.  Some  artists  have  used  it 
beautifully  in  combination  with  a simple  kind  of  line  etching,  which  it 
supports  very  well.  Hervier’s  sketches  of  boats  are  charming  instances 
of  this,  and  so  is  at  least  one  etching  by  Villevieille,  called  “ En  Picardie.” 
They  worked,  in  fact,  exactly  on  the  same  principle  as  Turner  did  when 

2 F 


434 


APPENDIX. 


he  etched  the  Liber  Studiorum  plates  to  be  finished  in  mezzotint,  the 
only  difference  being  that  the  roulette  is  employed  more  lightly  as  a sort 
of  sketched  mezzotinting.  It  ought  to  be  used  rather  sparingly,  and  in 
subordination  to  the  etched  lines,  to  sustain  them. 

§ 4.  The  Berceau. — This  is  the  regular  instrument  used  to  produce 
mezzotint.  It  is  an  expensive  tool  (worth  about  30s.),  and  is  used  simply 
by  rocking  it  from  side  to  side  like  a cradle  (whence  the  name).  It  pro- 
duces points  in  great  numbers  (more  than  a hundred  at  each  movement), 
and  these  make  a soft  dark  or  rich  black  in  the  proof.  They  have 
generally  to  be  lowered  with  the  scraper  to  paler  tints.  The  professional 
mezzotint  engravers  attain  wonderful  skill  in  the  art  of  getting  different 
tones  by  this  means.  Mezzotint  does  not  stand  large  editions  well,  but  if 
the  berceau  is  used  on  the  grounded  plate  and  the  dots  bitten , then  they 
will  print  as  long  as  etched  lines.  The  effect  is  not  so  rich,  but  it  is  more 
in  harmony  with  bitten  lines. 

To  get  an  intense  black  with  the  berceau  it  is  necessary  to  go  over 
the  same  place  very  many  times,  holding  the  tool  successively  to  all  the 
points  of  the  compass. 

§ 5.  The  Cravate. — This  is  Daubigny’s  name  for  an  auxiliary  which 
may  be  mentioned.  Cover  the  plate  with  etching-paste  with  the  roller, 
filling  up  the  lines  already  etched,  and  then  lay  upon  it  a piece  of  taffetas 
silk.  Go  over  this  with  the  burnisher  or  pass  it  once  through  the  press. 
Then  remove  it,  and  leave  the  etching-paste  just  as  it  remains  on  the 
plate  for  two  or  three  days  to  dry.  Now  stop  out  all  parts  which  you 
intend  to  leave  quite  white,  and  subject  the  other  parts  to  the  action  of 
the  Dutch  mordant,  which  will  bite  a granular  tint  upon  the  plate.  You 
stop  out  successively  the  parts  which  seem  to  you  sufficiently  bitten. 
This  only  gives  a succession  of  flat  tints,  but  some  gradation  may  be 
afterwards  introduced  by  the  scraper  and  burnisher.  Fine  new  muslin 
may  be  used  in  certain  plates,  or  parts  of  plates. 

§ 6.  The  Sc  ft  Ground. — The  old  soft  ground  process  may  be  used  as 
an  auxiliary.  Etching  ground  was  mixed  with  an  equal  quantity  of  tallow, 
and  applied  with  a dabber,  and  smoked  in  the  usual  way.  A sheet  of  paper 
with  a grain  was  then  laid  on  the  plate,  and  the  artist  worked  with  a pencil 
on  the  paper.  The  paper  when  removed  took  away  the  ground  where  the 
pencil  had  passed,  and  the  acid  in  the  bath  bit  the  copper  into  a sort  of 
grain  like  a lithograph.  In  using  the  process  as  an  auxiliary  it  fs  best  to 
begin  with  it  and  use  the  line  work  afterwards  in  the  usual  way. 

§ 7.  Flat  Sulphur  Tints.  Oil  the  plate  liberally  with  olive  oil,  and 
blow  flour  of  sulphur  upon  this  ; the  sulphur  if  allowed  to  remain  on  the 
plate  will  produce  a flat  tint  more  or  less  deep  in  proportion  to  the  time  it 
remains.  I have  a great  dislike  to  sulphur  tints  all  over  a plate,  for  they 
are  very  heavy  and  dead,  but  they  may  sometimes  be  used  with  good 
effect  in  deeply  shaded  parts.  Some  of  Appian’s  best  plates  owe  a great 
deal  of  their  charm  to  them.  They  are  valuable  for  evening  effects,  to 
sustain  deeply  bitten  lines,  when  they  produce  the  effect  of  highly  artifi- 
cial printing. 


THE  AUTHOR'S  POSITIVE  PROCESS. 


435 


CHAPTER  X. 

THE  AUTHORS  POSITIVE  PROCESS. 

A brief  explanation  of  my  positive  process  may  be  useful  to  some  readers 
who  do  not  possess  the  Etcher's  Handbook. 

The  plate  is  first  simply  cleaned  with  fine  emery  paper  and  then 
silvered  with  Bleu  d' Argent  or  Silver  Cream.  See  Chap.  V.  § 19,  and 
Chap.  XI.  § 9.  Bleu  d’Argent  may  be  thinned,  if  necessary,  with  water 
or  alcohol. 

The  silvered  plate  is  now  covered  with  white  wax  by  applying  the 
clear  solution  of  white  wax.  ( See  Chapter  on  Grounds  and  Varnishes, 
paragraph  on  Stopping-out  varnish.)  It  must  not  be  heated  to  expel  the 
ether,  but  left  to  dry  for  at  least  twenty-four  hours.  This  ground  is  very- 
delicate  and  must  not  be  touched  with  the  fingers.  It  is  applied  as 
photographers  apply  collodion,  being  poured  on  the  plate  and  rapidly 
poured  off  again  at  one  corner  before  it  sets,  with  such  a motion  as  to 
spread  it  equally. 

Sketch  the  subject  very  lightly,  for  your  guidance,  with  a little  thin 
stopping-out  varnish  and  a small  camel-hair  brush.  Tracing  is  unsafe 
on  account  of  the  delicacy  of  the  ground. 

Immerse  the  plate  in  a shallow  and  cold  bath  of  Dutch  mordant, 
slightly  charged  with  copper.  Then  with  a fine  needle  etch  the  darkest 
bits  of  it  first  and  pass  gradually  to  lighter  parts,  finishing  with  the 
lightest.  If  your  bath  is  right,  every  line  will  blacken  the  instant  you  have 
scratched  it,  and  you  will  see  the  effect  in  a black  line  on  a white  ground. 

The  lines  are  constantly  enlarging,  because  the  ground  is  purposely 
delicate,  therefore  you  have  no  need  to  use  more  than  one  sharp  point. 
Knowing  this,  you  will  etch  all  that  are  intended  to  be  thick  and  powerful 
organic  lines  in  the  beginning,  advancing  gradually  to  others,  and  reserv- 
ing light  veils  of  transparent  shading  to  the  very  last,  when  they  will  act 
as  glazes. 

If  the  plate  is  too  big  to  be  manageable  in  five  hours,  etch  only  a part 
of  it,  and  finish  thaty  light,  shading,  and  all.  Then  stop  that  out  with 
stopping-out  varnish,  or  with  white  ground  applied  with  the  brush  (the 
first  is  safer,  the  second  more  convenient,  because  it  leaves  the  work 
visible,  but  it  takes  much  longer  to  dry),  and  afterwards  carry  the  plate 
forward  by  finishing  another  part  in  the  bath,  and  so  on  till  all  is  done. 
I have  used  the  positive  process  for  large  and  elaborate  plates. 

This  process  has  two  advantages  ; the  first,  that  the  artist  sees  his 
work  in  black  lines  on  a white  ground  ; the  second,  that  when  he  has 
done  drawing  his  plate  is  bitten  with  an  elaborate  variety  of  tone  which 
can  only  be  equalled  in  the  old  process  by  the  most  laborious  and  tedious 
stopping-out.  There  is  consequently  a great  economy  of  time  when  the 


APPENDIX. 


430 


artist  is  skilful,  but  there  is  the  disadvantage  that  he  cannot  correct 
whilst  he  is  at  work,  so  that  every  stroke  prints,  neither  can  he  reserve 
small  points  of  light  in  masses  of  shade  which  can  so  easily  be  done  with 
stopping-out  varnish  in  the  old  process.  My  positive  process  is,  however, 
quite  perfect  and  convenient  in  its  own  way,  and  has  been  greatly  approved 
of  by  some  eminent  artists,  but  it  is  not  suitable  for  beginners,  who  ought 
to  be  able  to  correct,  and  who  cannot  expect  to  calculate  with  much 
accuracy  the  effect  of  biting  upon  each  line  when  they  make  it.  An  artist 
who  etched  (let  us  say)  in  Mr.  Haden’s  manner  would  find  the  positive 
process  useful,  and  able  to  give  what  he  wanted  better  than  the  old  pro- 
cess, because  he  could  get  many  different  depths  of  line  without  stopping- 
out  ; but  an  artist  who  desired  to  etch  like  the  engraver-etchers  who  copy 
pictures,  would  find  the  constant  march  of  the  acid  too  embarrassing  for 
him. 


CHAPTER  XI. 

THE  CHEMISTRY  OF  ETCHING. 

A few  brief  chemical  notes  may  be  of  use  to  the  reader.  Professor 
Barff,  of  the  Royal  Academy,  has  very  kindly  answered  my  questions  on 
this  subject,  and  so  have  other  scientific  friends ; it  is  therefore  hoped 
that  these  notes  may  be  relied  upon. 

All  .chemicals  used  in  the  etcher’s  laboratory  should  be  in  the  pure 
state  in  which  they  are  sold  to  scientific  chemists  for  experiments. 

§ 1.  Hydrochloric  Acid. — When  pure  this  acid  is  white  and  smokes 
very  little  or  not  at  all.  The  common  hydrochloric  acid  of  commerce 
often  smokes  so  much  that  it  is  quite  unsuitable  for  use  in  the  etcher’s 
laboratory,  and  especially  in  the  positive  process.  This  acid  smokes 
more  in  hot  weather  than  in  cold,  and  more  when  there  is  ammonia  in  the 
atmosphere  than  when  there  is  not  any  ammonia.  However  white  it  may 
be,  it  will  turn  yellow  after  contact  with  iron.  The  impure  acid  usually 
sold  by  druggists  contains  different  things  which  do  not  much  affect  its 
powers  as  a mordant,  but  only  the  pure  acid  is  agreeable  to  use.  The 
worst  is  simply  intolerable.  Its  yellow  colour  may  be  caused  by  the 
presence  of  iron,  or  it  may  be  yellow  from  the  presence  of  free  chlorine 
gas. 

§ 2.  Action  of  the  Dutch  Mordant. — This  mordant,  as  we  see  in  the 
positive  process,  stains  the  copper  of  a dark  colour,  which  looks  positively 
black  by  contrast  with  the  silver,  and  is  in  fact  a dark  red  purple.  The 
copper  is  stained  so  deeply  that  you  cannot  rub  the  stain  away  without 
removing  some  portion  of  the  copper  itself. 

The  dark  stain  is  sub-chloride  or  sub-oxide  of  copper. 

The  chlorate  of  potash  in  the  mordant  produces  chlorine  d Cdtat 
naissant, 


THE  CHEMISTRY  OF  ETCHING. 


437 


The  work  of  the  hydrochloric  acid  is  to  effect  the  disengagement  of 
chlorine. 

Chlorate  of  potash  is  a magazine  of  chlorine,  charged  with  it  as  much 
as  possible.  It  is  this  chlorine  which,  being  disengaged  by  the  acid,  acts 
upon  the  copper. 

The  chlorine  has  probably  a double  action.  It  may  simultaneously 
attack  the  copper  directly,  forming  chloride  of  copper,  and  take  up  the 
hydrogen  of  the  water,  setting  oxygen  at  liberty,  d Vetat  naissant , which 
forms,  with  the  metal,  an  oxide  of  copper.  The  hydrochloric  acid  may 
dissolve  this  oxide.  It  has  little  action  on  the  pure  metal. 

I have  endeavoured  to  ascertain  whether  the  Dutch  mordant  can  be 
prejudicial  to  the  health  of  the  operator,  especially  when  he  works  in  the 
positive  process.  Enchlorine  is  given  off,  which  is  a very  powerful  body, 
and  which,  untampered,  would  be  dangerous.  On  the  other  hand,  if  the 
laboratory  is  well-ventilated  there  is  nothing  to  fear.  In  a small  quantity 
chlorine  is  positively  useful  as  a disinfectant  and  preservative  against 
epidemic  disease.  In  case  of  suffering  from  its  use  in  an  ill- ventilated 
laboratory,  the  proper  antidote  is  milk. 

§ 3.  Action  of  Dutch  Mordant  and  Ammonia  in  preparing  plates. — In 
the  chapter  on  biting  I gave  an  account  of  a way  of  treating  plates  by 
Dutch  mordant  and  ammonia  as  a preparation  for  etching.  I now 
explain  the  chemical  action. 

The  Liquid  Ammonia  dissolves  the  salt  of  copper  which  the  Dutch 
mordant  has  formed  on  the  surface  of  the  plate  (that  is  the  sub-chloride 
or  sub-oxide  of  copper).  At  the  same  time  it  lays  the  metallic  copper 
bare  and  free  from  all  impurity. 

§ 4.  Use  of  water  in  the  Dutch  Mordant. — Water  is  essential  for  the 
preservation  of  the  chlorine  in  the  chlorate  of  potash  until  it  can  act  upon 
the  copper.  If  hydrochloric  acid  is  poured  upon  chlorate  of  potash  in 
crystals  without  the  intervention  of  water,  enchlorine  is  given  off  in  dense 
fumes,  and  the  qualities  of  chlorate  of  potash  are  no  longer  available  It 
is  necessary  to  dissolve  the  chlorate  first  in  water  before  adding  the  acid. 
Water  is  both  a vehicle  and  a moderating  and  conservative  element  in 
the  mordant. 

§5.  Action  of  Nitric  Acid  upon  Copper. — Nitric  acid  first  oxidises 
and  then  dissolves  the  copper.  It  does  not  darken  the  lines  in  biting 
them  as  the  Dutch  mordant  does  by  producing  the  sub-chloride  of  copper. 

§ 6.  Arrested  Bitings. — This  very  unpleasant  phenomenon,  the  despair 
of  etchers,  is  chemically  explained  as  follows  : — 

* There  may  be  something  more  than  this.  A French  friend  offers  the  follow- 
ing as  a hypothesis.  “ L’oxyde  de  cuivre  attaque  par  l’ammoniaque  doit  donner 
de  l’azotate  de  cuivre,  et  en  dep6t  du  cuivre  pur  en  poudre.  L’oxygene  de  l’oxyde 
de  cuivre  se  porte  en  partie  sur  l’azote  de  l’ammoniaque  pour  former  de  l’acide 
azotique  qui  s’unit  a ce  qui  reste  de  l’oxyde  de  cuivre  et  forme  l’azotate  de  cuivre. 
Pure  copper  is  oxidised  in  the  presence  of  ammonia,  and  the  oxide  is  then  dis- 
solved. Ammonia  is  thus  a real  mordant,  but  it  cannot  be  employed  as  such, 
because  it  injures  the  etching-ground. 


APPENDIX. 


438 


By  allowing  the  mordant  to  remain  long  undisturbed  on  the  copper, 
a coat  of  oxide  gets  formed  which  is  not  dissolved  as  the  acid  solvent  is 
weakened. 


Dutch  mordant  or  nitric  acid,  and  at  A you  have  the  pure  liquid. 
The  specific  gravity  of  the  liquid  at  D is  greater  than  that  of  the  liquid 
at  A,  so  it  remains  in  the  hollow,  and  the  action  is  to  a great  degree 
retarded,  if  not  altogether  arrested.  The  remedy  suggested  is  washing  at 
intervals  in  distilled  water  and  the  addition  of  fresh  mordant  to  the  bath. 
There  is  potash  in  the  chlorate,  and  this,  as  chloride,  will  make  the  liquid 
thick,  and  impede,  after  a time,  the  solvent  powers  of  the  hydrochloric 
acid.* 

§ 7.  Perchioride  of  Iron. — The  action  of  perchloride  of  iron  on  copper 
is  essentially  the  same  as  that  of  the  Dutch  mordant.  It  produces 
chloride  of  copper,  and  probably  also  oxide  of  copper,  which  it  dissolves. 

§ 8.  Effect  of  Iron  on  lines  in  the  Dutch  Mordant . — The  dark  lines  in 
a plate  covered  with  Dutch  mordant  may  at  any  time  be  turned  to  a light 
copper  colour  by  touching  the  plate  with  an  iron  instrument.  It  is 
suggested  that  in  the  presence  of  the  iron  the  oxygen  in  the  oxide  of 
copper  flies  to  the  iron,  but  what  becomes  of  the  sub-chloride? 

§ 9.  Composition  of  Silver  Cream  to  Silver  Plates  for  the  Positive 
Process . With  the  help  of  a scientific  friend  I have  tried  to  imitate 
Levi’s  original  crime  d’ Argent  and  succeeded  perfectly.  As  this  creme 
d' Argent  has  not  been  procurable  since  the  war  of  1870  (when  the 
inventor  probably  died),  the  reader  may  be  glad  to  know  how  to  make  it. 

The  first  thing  is  to  procure  chloride  of  silver.  This  may  be  done  as 
follows : — 

Pour  60  grammes  of  nitric  acid  into  a tumbler,  and  add  the  same 
quantity  of  water.  Put  the  tumbler  into  a small  pan  half  filled  with  water, 
which  you  set  over  the  flame  of  a spirit-lamp.  Throw  a shilling  into  the 
tumbler,  and  let  the  mordant  boil  five  minutes.  Remove  from  the  fire, 
and  let  the  contents  of  the  tumbler  cool.  The  shilling  will  now  be  entirely 
dissolved. 

When  the  solution  is  cool,  add  to  it  120  grammes  of  pure  water,  and 
then  pour  into  it,  drop  by  drop,  25  grammes  of  hydrochloric  acid.  This 
will  immediately  produce  a white  precipitate.  Now  transfer  the  whole 
into  a large  glass  and  add  pure  cold  water  liberally,  stirring  well  with  a 

* One  chemist  suggests  that  if  the  Dutch  mordant  is  used,  it  may  be  a good 
precaution  to  immerse  the  plate  from  time  to  time  in  a weak  nitric  mordant,  after 
washing  it  well  with  distilled  water. 


C 


Suppose  this  to  represent 
a magnified  section  of  a plate, 
and  A C the  depth  of  a line, 
the  oxide  lodges  at  the  bot- 
tom, between  C and  D.  At 
D you  have  a solution  of 
chloride  or  nitrate  of  copper 
according  as  you  use  the 


THE  CHEMISTRY  OF  ETCHING. 


*39 


glass  rod.  This  is  to  wash  the  precipitate.  Let  it  settle  to  the  bottom 
of  the  glass  and  pour  away  the  acid  and  water.  Fill  up  again  with  pure 
water  and  repeat  the  washing.  Pour  off  the  water  again  and  wash  the 
precipitate  a third  and  a fourth  time  in  pure  water. 

You  may  now  dry  the  precipitate  between  sheets  of  blotting  paper  and 
on  a warm  glass.  When  it  is  dry  weigh  it.  A shilling  ought  to  give  ten 
grammes  of  chloride. 

The  next  thing  to  be  done  is  to  dissolve  your  chloride.  You  begin  by 
making  a strong  solution  of  cyanide  of  potassium  as  follows  : — Put  80 
grammes  of  water  in  a tumbler,  and  put  the  tumbler  in  a pan  as  you  did 
before  with  the  mordant,  till  the  water  in  the  tumbler  boils.  Dissolve  in 
it  20  grammes  of  cyanide  of  potassium.  When  the  solution  is  accom- 
plished, put  your  io  grammes  of  chloride  of  silver  into  the  tumbler  and 
stir  well  for  five  minutes  with  a glass  rod.  Leave  the  solution  to  cool. 

You  have  now  a solution  of  chloride  of  silver  in  a solution  of  cyanide 
of  potassium,  but  it  is  too  acid  and  too  fluid.  You  therefore  add  25 
grammes  of  cream  of  tartar,  and  after  that  50  grammes  of  chalk,  stirring 
well  till  all  ebullition  ceases. 

The  best  way  to  use  the  silver  cream  is  to  apply  it  first  with  a camel- 
hair  brush  and  leave  it  for  five  minutes  on  the  plate  ; then  rub  the  plate 
with  a clean  rag  till  nothing  is  left  but  the  metallic  silver. 

Chloride  of  silver  may  be  made  rather  more  promptly  by  simply 
dissolving  photographers’  nitrate  of  silver  in  water  and  then  precipitating 
the  chloride. 

The  following  is  the  receipt  in  a condensed  form : — 

Chloride  of  Silver  . . . .10  grammes 

Cyanide  of  Potassium  . . . 20  „ 

Water  . . . . 80  „ 

Cream  of  Tartar  . . . . 25  „ 

Chalk  . . . . . 50  „ 

It  is  desirable  to  use  as  little  water  as  possible,  that  the  cream  may 
not  be  weak  and  thin. 

Readers  who  are  not  accustomed  to  chemistry  are  warned  that  cyanide 
of  potassium  is  one  of  the  most  terrible  of  poisons.  Even  its  odour  pro- 
duces disagreeable  and  alarming  symptoms  in  some  persons.  Mind  that 
no  drops  of  the  strong  solution  get  upon  any  little  wound  on  the  hand. 
Ventilate  the  laboratory  well  immediately  after  making  the  silver  cream. 


440 


APPENDIX. 


CHAPTER  XII. 

DRY-POINT. 

PLATES  are  sometimes  engraved  in  pure  dry-point  with  the  bur  left  to 
catch  the  printer’s  ink.  This  is  not  really  etching,  so  it  shall  be  passed 
very  briefly  here,  but  it  is  an  etcher’s  process,  and  therefore  must  be 
mentioned. 

The  bur  is  the  ridge  raised  by  the  tool  as  it  ploughs  the  copper.  When 
It  catches  too  much  ink  it  is  reduced  with  the  scraper  till  it  takes  just 
enough.  The  scraper  must  be  used  very  cautiously. 

A mixture  of  tallow  and  lamp  black  is  rubbed  into  the  lines  as  the 
work  proceeds,  that  the  workman  may  see  what  he  is  doing. 

The  raising  of  the  bur, does  not  simply  depend  upon  the  amount  of 
oressure  exercised,  but  also  on  the  angle  at  which  the  needle  is  held. 


Let  A B be  the  plate,  and  C D,  C E,  C F,  the  graver  held  in  different 
positions.  With  the  exercise  of  precisely  the  same  amount  of  force  a 
line  drawn  with  the  graver  as  at  C D will  be  weaker  than  a line  drawn 
with  the  graver  as  at  C E,  and  C F will  draw  a blacker  line  still,  because 
it  will  raise  a higher  bur.  The  inclination  of  the  graver  is  of  course 
always  made  to  the  right.  The  line  A B is  supposed  to  be  the  plate  on 
which  the  reader  is  working.  He  is  recommended  to  make  experiments 
on  inclination  in  this  way,  and  to  take  proofs  in  a press,  that  he  may  see 
the  result.  An  hour  so  spent  will  teach  him  more  than  a page  of  theory. 
It  is  evident  that  without  knowing  this  fact  about  inclination  a dry-point 
engraver  is  always  liable  to  unintentional  variations  of  force  if  he  relies 
upon  bur  for  his  effect.  In  cases  where  bur  is  not  the  object,  inclination 
is  of  much  less  consequence. 

The  reader  must  not  think  of  dry-point  as  a thin  and  meagre  art.  It 
may  be  made  to  look  very  rich,  and  this  is  not  surprising  when  we 
consider  that  it  is  really  mezzotint  hi  line , for  the  effect  is  got  by  bur 
both  in  dry-point  and  in  mezzotint.  The  hand  is  not  nearly  so  free  as  it 
is  in  etching,  and  this  objection,  together  with  the  serious  one  that  dry- 
points  will  not  safely  yield  large  editions,  has  caused  etchers’  dry-point 
to  be  much  neglected.* 

* With  regard  to  this  question  of  printing,  I may  observe  that  my  large  dry- 


PRINTING. 


441 


Engravers’  dry-point  is  done  on  different  principles  In  this  the  bur 
is  removed.  An  etcher  may  use  it  occasionally  amongst  his  etched  lines 
in  a manner  very  nearly  resembling  etching.  Mr.  Ruskin  uses  it  very 
skilfully  in  this  way. 


CHAPTER  XIII. 

PRINTING 

A few  brief  notes  on  printing  seem  necessary  in  this  place,  but  the 
subject  is  much  too  large  to  be  treated  with  any  thoroughness  here.  It 
occupies  more  than  300  closely  printed  pages  in  Roret’s  Encyclopaedia. 
If  the  reader  wishes  to  pursue  the  subject  further,  and  can  read  technical 
French,  he  should  get  the  little  volume,  which  may  be  had  separately.* 

I presume  that  the  etcher  merely  wishes  to  prove  his  plate  and  does 
not  care  to  print  editions.  If  he  desires  to  print  a few  proofs  of  his  own 
plates  for  sale  he  must  apprentice  himself  for  a week  or  ten  days  to  a 
good  professional  printer  accustomed  to  print  etchings  for  good  artists. 

The  following  brief  directions  are  all  that  is  needed  for  proving. 
Heat  your  plate  on  the  plate-heater  (Chap.  V.,  § 31)  until  it  is  nearly  as 
warm  as  the  hand  can  bear,  then  take  up  some  printing-ink  with  a palette 
knife,  lay  it  on  a corner  of  the  plate-heater,  and  add  a drop  or  two  of 
boiled  linseed  oil  if  it  is  too  stiff  to  be  easily  dealt  with.  You  then  take  the 
dabber  (Chap.  V.,  § 28),  take  some  of  the  printing-ink  up  with  it,  and 
ink  your  plate  all  over,  driving  the  ink  thoroughly  well  into  the  lines. 
For  the  first  proof  it  is  even  necessary  to  rub  the  ink  well  into  the  lines 
with  your  finger.  In  using  the  dabber  apply  it  with  a strong  rocking 
motion  all  over  the  plate.  Do  not  strike  the  copper  with  it,  and  never 
slip  or  slide  it  on  the  copper. 

When  the  plate  is  well  inked  all  over  take  a piece  of  printers’  canvas 
crushed  together  in  a large  lump,  but  lightly,  and  wipe  the  plate  with  it 
till  the  ink  is  in  great  part  removed  from  the  surface.  To  clear  margins 
and  parts  that  are  required  to  come  quite  white  it  is  usual  to  employ  a 
rag  damped  with  weak  acidulated  water  which  has  potash  in  it  and  (in 

point,  in  the  first  edition  of  Etching  and  Etchers,  called  Two  Stumps  of  Driftwood , 
gave  1000  copies  (after  being  steeled)  without  perceptible  wearing.  On  the  other 
hand,  a plate  of  mine  called  The  Tower  of  Vauthot  was  intended  for  the  Portfolio , 
but,  by  M.  Flameng’s  advice,  was  not  published  in  that  periodical,  because  it  was 
found  difficult  to  print  it  without  injury  beyond  the  first  100  proofs  on  Japanese 
paper.  This  latter  plate  was  an  etching,  but  the  whole  of  its  effect  was  due  to 
work  with  the  dry  point. 

* Encyclopedic  Roret,  Manuel  de  lTmprimeur  en  Taille-douce,  prix  3 francs. 
Paris,  Librairie  Encyclopedique  de  Roret,  Rue  Hautefeuille,  No.  10  bis.  The 
reader  will  also  find  a good  deal  of  curious  technical  information  about  etching 
and  engraving  in  another  volume  of  the  same  collection,  entitled  “ Graveur.” 


442 


APPENDIX. 


France)  a little  quick-lime.  The  water  is  acidulated  with  nitrous  acid. 
The  proportions  used  vary  according  to  the  taste  of  different  workmen, 
but  this  mordant  must  never  be  strong. 

The  plate  is  then  cleaned  as  far  as  the  printer  intends  with  the  soft 
part  of  his  right  hand,  which  has  been  previously  chalked  by  being  passed 
over  a lump  of  Spanish  white  (the  hand  must  not  be  overcharged  with 
chalk).  The  margin  is  cleaned  with  a rag  chalked  in  the  same  way. 

To  ascertain  the  exact  state  of  a plate  it  is  necessary  to  clean  it  all 
over,  leaving  no  ink  except  what  is  in  the  lines,  as  visiting-cards  are 
printed.  It  is  a good  thing  to  do  this  for  the  first  proof  simply  for  self- 
information. 

But  to  ascertain  what  the  plate  is  capable  of  rendering,  it  may  be 
treated  artificially  by  what  is  called  artistic  printing. 

The  two  kinds  of  printing  are  quite  different  from  each  other,  and  a 
plate  may  be  etched  for  one  or  for  the  other.  We  will  distinguish  them 
here  as  mechanical  and  artistic  printing.  Remember  the  visiting-card 
as  the  example  of  the  first.  I cannot  so  easily  name  an  example  of  the 
second,  because  I cannot  be  sure  that  all  artistic  proofs  of  the  same  plate 
are  equal  in  quality  to  those  which  are  accessible  to  me.  However,  I 
will  try  to  fix  upon  an  example  of  the  second,  and  it  shall  be  the  Laugh- 
ing Portrait  of  Rembrandt  by  Flameng,  which  was  printed  with  extra- 
ordinary care  and  skill  by  Salmon  for  the  Portfolio.  It  appeared  in  the 
number  for  January  1872.  The  printing  of  that  plate  was  so  highly 
artificial  that  the  workman  could  only  take  a few  proofs  per  day.* 

Artificial  or  artistic  printing  has  often  been  much  disliked  by  artists, 
because  when  badly  done  it  is  intolerable.  Mr.  Ruskin  condemns  it 
altogether.  Mr.  Haden  condemned  it  at  one  time,  but  has  probably 
changed  his  opinion  since,  for  the  Agamemnon  is  printed  very  artificially. 
I too  have  had  my  time  of  rebellion  against  it,  caused  by  ignorant  and 
tasteless  work  which  pretended  to  be  artistic,  and  only  succeeded  in 
obscuring  the  intention  of  the  etcher.  The  plain  truth  is,  that  when  done 
with  ability,  skill,  and  taste,  artistic  printing  is  a wonderful  help  to  certain 
etchings,  and  that  some  eminent  modem  etchers  work  intentionally  in 
view  of  it.  The  Laughing  Rembrandt,  for  example,  was  etched  on 
purpose  to  be  printed  artificially,  so  that  the  only  proofs  which  express 
Flameng’s  intention  are  artistic  proofs.  On  the  other  hand,  etchings 
may  be  done  expressly  to  be  printed  like  visiting-cards  ; for  example, 
those  of  Mr.  Ernest  George,  and  those  of  mine  in  the  first  edition  of  my 
Etcher’s  Handbook,  were  etched  to  be  so  printed.  In  such  cases  the 
brilliance  of  the  white  paper  between  the  lines  is  counted  upon  as  a part 
of  the  effect,  and  must  not  be  obscured  by  the  printer,  whose  business  is 
simply  to  make  every  line  clear  and  black. 

* The  whole  edition  was  printed  with  the  care  usually  given  to  a choice  proof, 
and  under  M.  Flameng’s  personal  supervision.  All  parties  made  some  sacrifices 
about  the  plate  (publisher,  printer,  etcher)  as  a work  of  exceptional  character  and 
importance.  If  the  reader  could  see  a bad  or  weak  proof  of  the  same  plate  he 
would  be  very  much  astonished. 


PRINTING. 


443 


Artistic  printing  may  be  defined  as  that  in  which  the  smooth  surface 
of  the  copper  between  the  lines  is  itself  more  or  less  charged  with  print- 
ing-ink. This  is  done  to  enhance  the  effect  by  giving  a rich  and  soft 
obscurity  to  certain  parts  of  the  work.  Without  it  the  rich  plates  of 
Flameng  after  Rembrandt  would  look  comparatively  meagre,  and  the 
quality  of  his  work  would  not  be  perceived  or  appreciated. 

In  artistic  printing  certain  parts  of  the  copper  are  more  cleaned  than 
other  parts.  Some  are  cleaned  perfectly,  others  are  left  charged  with 
much  printing-ink.  Some  are  first  cleaned  and  then  the  ink  is  brought 
over  them  afterwards  by  retroussage. 

Retroussage  is  managed  as  follows.  When  you  have  removed  the 
superfluous  ink  from  the  surface  of  your  plate  by  means  of  the  canvas  and 
the  chalked  hand,  you  take  a piece  of  very  soft  fine  old  muslin  that  has 
been  well  washed  and  dried,  and  you  play  with  this  lightly  over  the  part 
of  the  plate  which  you  desire  to  print  most  richly.  It  pumps  the  ink  out 
of  the  lines  and  spreads  it  between  them  on  the  smooth  copper.  This  is 
very  easily  done,  and  it  can  be  done  more  or  less  as  desired,  so  that  it  is 
well  under  the  control  of  the  workman.  The  effect  is  often  excellent  when 
retroussage  has  been  judiciously  employed. 

Artistic  printing  has,  however,  often  been  carried  much  farther  than 
simple  retroussage  could  carry  it,  and  in  the  extreme  of  artistic  printing 
it  is  necessary  to  leave  a good  deal  of  ink  on  the  darkest  and  richest 
portions  of  the  plate,  softening  it  with  the  rag  to  equality  of  tone  where 
desired. 

In  open  line  etchings  retroussage  has  the  effect  of  making  the  lines 
appear  much  broader,  therefore  when  the  lines  in  a plate  of  this  kind  are 
too  meagre,  retroussage  may  be  resorted  to  with  advantage. 

An  etcher  may  etch  from  the  beginning  in  view  of  artistic  printing  and 
plan  his  effects  for  it,  but  when  he  has  not  done  so  it  may  sometimes 
happen  that  this  kind  of  printing  will  save  a meagre  or  otherwise  defective 
plate  by  hiding  its  faults  and  bringing  into  more  striking  evidence  what- 
ever beauties  it  may  possess. 

The  preparation  of  paper  for  printing  must  now  be  briefly  explained. 
If  it  were  dry  the  oil  of  the  ink  would  stain  it  unpleasantly  ; it  would  not 
be  forced  easily  down  into  the  lines  nor  spread  by  the  roller  along  the 
surface  of  the  plate.  An  impression  of  an  etching  is  really  a cast  of  it 
taken  in  paper  instead  of  in  plaster  of  Paris.*  The  lines,  which  are 
hollowed  in  the  copper,  appear  in  relief  upon  the  proof.  The  paper  must 
therefore  be  very  soft,  almost  pulpy,  and  to  effect  this  it  is  well  wetted 
and  kept  damp  for  a couple  of  days.  An  etcher  who  takes  a proof 
occasionally  cannot  keep  damp  paper  always  by  him,  so  he  is  recom- 
mended generally  to  sponge  the  sheet  before  using  it.  Sponging  is 
enough  for  some  papers,  but  others  are  not  sufficiently  softened  by  it  for 
immediate  use,  so  that  it  is  a much  safer  rule  to  allow  your  sheet  of  paper 
to  soak  for  ten  minutes  in  a bath  of  pure  water,  and  afterwards  lay  it  be- 

* Proofs  can  be  taken  in  plaster  of  Paris.  Many  an  etcher  has  used  it  in  the 
absence  of  a press.  They  are  simply  casts  from  the  inked  pla  te. 


444 


APPENDIX. 


tween  different  sheets  of  blotting-paper,  when  you  may  use  it  at  once.  It 
is  a good  precaution  with  all  foreign  papers  except  Japanese  and  Indian, 
to  brush  them  with  a clothes-brush  just  before  taking  the  proof.  It  dis- 
engages the  fibre  at  the  surface,  and  better  disposes  it  for  penetrating  into 
the  lines. 

For  proving  a plate,  pass  it  once  through  the  press  to  take  the  proof, 
and  not  once  and  back  before  lifting  the  paper,  as  printers  do  ; because 
that  often  more  or  less  perceptibly  doubles  the  lines,  and  you  want  to 
ascertain  the  exact  truth  about  your  lines. 

See  that  your  press,  if  a large  one,  is  well  supplied  with  four  or  five 
good  soft  cloths  to  lay  between  the  roller  and  your  paper.  Proofs  may  be 
taken  with  two  if  they  are  thick  and  good. 

If  the  paper  slips  along  the  plate  and  creases,  the  reason  always  is  too 
much  friction  somewhere  in  the  press.  Find  out  what  causes  the  friction, 
and  remedy  it.  Keep  axles  well  oiled. 

It  is  a mistake  to  suppose  that  proofs  are  better  for  excessive  pressure. 
There  is  a certain  (very  considerable)  degree  of  pressure  which  is  neces- 
sary to  a good  proof,  but  anything  beyond  it  does  no  good  and  may  create 
inconvenience,  if  only  by  making  the  press  more  difficult  to  work. 

When  proving  a plate  it  is  very  useful  to  take  an  off-track.  This  is  a 
paler  copy  of  the  proof,  printed  from  it  in  reverse  immediately  after  it  is 
taken.  You  simply  put  the  fresh  proof  in  the  press  instead  of  the  plate 
and  lay  damped  paper  upon  it.  You  get  an  impression  in  reverse,  that  is 
in  the  same  sense  as  the  copper  itself,  and  this  considerably  facilitates 
reference  for  retouches.  In,  etching  directly  from  nature  without  the 
mirror  your  drawing  comes  in  reverse  in  the  printing,  so  that  there  can  be 
no  local  resemblance.  If  anybody  in  the  neighbourhood  asks  for  a proof, 
you  will  have  to  give  him  an  off-track,  or  he  will  not  recognise  the  place. 

To  dry  proofs  you  require  thick,  soft,  porous  pasteboards  (made  on 
purpose),  always  kept  very  clean,  of  course,  and  you  put  your  proofs 
between  these  boards  under  the  pressure  of  a screw-press  or  heavy 
weights.  Do  not  put  more  than  two  proofs  between  two  boards,  and  let 
the  proofs  be  back  to  back,  with  their  faces  to  the  boards.  The  principle 
of  drying  proofs  is  exactly  that  of  drying  plants  for  an  herbarium,  for  they 
have  to  be  dried  and  kept  flat  at  the  same  time.  Herbarium  paper  and 
a botanist’s  drying-press  would  do,  but  boards  are  preferred  for  the  more 
certain  flattening  of  the  whole  sheet  on  which  the  etching  is  printed.  A 
sheet  of  herbarium  paper  may  be  laid  on  the  pasteboard  to  prevent  it 
from  receiving  an  off-track  from  an  etching  which  is  thickly  printed. 
Change  the  pasteboards  once,  and  keep  them,  when  not  in  use,  where 
there  is  a current  of  air  to  dry  them.  They  should  then  be  arranged  with 
a space  between  every  two  of  them  for  the  air  to  pass  freely  over  both 
sides. 

When  you  have  done  with  printing  for  the  day,  be  careful  to  clean  the 
plate  thoroughly  with  petroleum,  schist  oil,  benzine,  or  turpentine,  so  that 
no  ink  may  be  left  in  the  lines.  It  would  harden  there  and  be  difficult  to 
get  out  afterwards. 


PLATE  XII 


POPLARS  AND  OAK,  a sketch  from  nature. 


By  P.  G.  HA  MERTON. 


PLATE  XII. 

(To  be  placed  opposite  page  444.) 


POPLARS  and  Oak,  a sketch  from  nature, 

By  P.  G.  Hamerton. 

This  little  sketch  is  given  as  an  example  of  a rapid  and  convenient  way  of  work- 
ing directly  from  nature  on  the  copper.  The  author  first  drew  all  the  organic 
markings,  including  the  deepest  indications  of  shade,  out  of  doors  in  a sitting  of  two 
hours,  but  nothing  more.  The  remaining  history  of  the  plate  is  given  below. 


BITINGS. 


In  Dutch  Mordant,  heated  to  90°  Fahrenheit. 

Minutes. 

Outlines  of  clouds 

10 

Organic  lines  in  trees,  and  marks  of  deepest  shading  in  them 

40 

Darkest  organic  lines  and  markings  in  shrubs  and  water 

60 

First  proof  taken.  The  plate  in  this  stage  consisted  of  nothing  but 
organic  lines  and  markings,  with  some  indication  of  its  deepest  shades. 

It  was  now  covered  again  with  the  black  ground.  The  sky  was  shaded 
in  horizontal  lines,  the  whole  of  the  water  was  shaded  in  vertical  lines,  and 

the  rising  ground  in  the  distance  was  shaded  in  crossed  lines.  Lights 
water  were  stopped  out  with  the  brush. 

on  the 

The  sky  was  now  bitten  in  a gradation  of  stoppings  out  from  four  to 
sixteen  minutes,  the  rising  ground  was  bitten  eight  minutes,  and  the  vertical 

shading  on  the  water  from  ten  minutes  to  twenty. 

The  plate  is  purposely  not  retouched  in  any  way. 

Second  proof  taken. 

A more  finished  appearance  might  easily  be  given  to  it  by  the  judicious 

use  of  the  scraper  and  the  dry-point 

There  are  some  rotten  lines  in  the  sky,  occasioned  by  their  having  been 
drawn  with  too  light  a hand.  They  could  easily  have  been  corrected  with 

the  burin. 

This  etching  is  printed  very  simply,  being  cleanly  wiped.  The  water 

and  foreground  shrubs  are  rttrousses. 

THE  INTERPRETATION  OF  NATURE. 


445 


CHAPTER  XIV. 

THE  INTERPRETATION  OF  NATURE. 

Several  correspondents  have  requested  me  to  write  them  a chapter  on 
the  interpretation  of  nature  in  etching,  showing  the  best  means  of  render- 
ing this  or  that  kind  of  natural  material.  Such  a subject  would  require 
a volume,  with  innumerable  references  to  the  works  of  etchers,  and  a 
thorough  analysis  of  their  ways  of  execution.  I have  already  been  tempted 
to  extend  the  present  volume  considerably  beyond  the  limits  of  the 
first  edition,  and  could  not  without  making  it  burdensome,  include  a 
treatise  on  the  interpretation  of  nature.  I rather  suspect,  too,  that 
amateurs  who  want  information  of  this  sort  are  often  in  that  peculiar 
stage  of  art-culture  when  people  believe  that  useful  recipes  can  be  given 
for  “ doing  trees  ” etc.  The  only  really  valuable  and  generally  applicable 
piece  of  advice  which  I can  give  is  to  select  some  good  etcher  whom  you 
really  like,  get  two  or  three  of  his  plates  and  copy  them  rigorously  in  fac- 
simile. That  will  compel  you  to  observe  what  methods  of  interpretation 
were  adopted  by  the  etcher  you  have  selected  for  your  master,  and 
whilst  you  are  at  work  copying,  you  may  apply  your  mind  to  the  closest 
study  of  his  ways.  Very  likely  they  will  not  suit  you  altogether,  very  likely 
it  will  seem  to  you  that  the  etcher  might  have  done  otherwise  and  done 
better,  which  only  means  that  you  have  a different  idiosyncrasy  from  his. 
When  you  are  tired  of  him  you  may  copy  somebody  else,  and  when  tired  of 
copying  etch  directly  from  nature,  only  trying  to  think  how  your  master 
would  have  interpreted  the  sort  of  material  before  you.  It  is  a great 
thing  that  you  should  be  firmly  persuaded  that  interpretation  is  always 
necessary.  Good  art  is  always  interpretative,  and  good  etching  is  most 
especially  so.  The  true  and  sound  principles  upon  which  the  interpreta- 
tion of  nature  in  etching  ought  to  be  founded  have  been  stated  on  pages 
251  and  252  of  this  volume,  especially  in  the  quotations  there.  The 
leading  ideas  of  good  etching  are  the  interpretation  of  nature  by  the 
selection  of  the  most  important  lines  and  the  separation  of  the  most 
important  masses,  with  a suggestion  of  the  most  characteristic  details. 
But  no  teacher  can  convey  to  a pupil  the  faculty  to  make  these  selections, 
and  yet  on  that  faculty  the  whole  value  of  his  interpretation  must  depend. 
Therefore  it  is  that  such  a book  as  this  can  never  make  an  artist,  but  it  may 
render  humble  service  to  one  who  is  already  born  with  the  true  gift.  And 
if  any  such  truly  enviable  favourite  of  Nature  should  by  chance  get  hold 
of  the  book  in  future  years,  let  me  wish  him  strength  and  long  life  to 
continue  greatly  the  tradition  of  a great  art,  an  art  which  existed  in  all  its 
majesty  some  centuries  before  we  were  born,  and  which,  in  spite  of  coldness 
and  indifference,  will  survive  as  long  as  there  is  copper  to  make  a plate 
and  acid  to  bite  it. 


CATALOGUE  INDEX. 


It  is  necessary  to  give  a few  words  of  explanation  about  the  use  of  tills 
index,  which  is  at  the  same  time  a catalogue. 

When  this  book  was  first  published,  a certain  number  of  its  readers, 
in  different  parts  of  England  and  America,  conceived  the  idea  of  illustrat- 
ing it  for  themselves  by  forming  collections  of  the  etchings  mentioned  or 
criticised  in  its  pages.  The  plan  was  excellent,  and  deserved  all  possible 
assistance  and  encouragement ; for,  with  the  help  of  such  a collection,  the 
reader  would  learn  more  about  the  art  in  the  leisure  of  a few  evenings 
than  the  book  could  ever  teach  him  by  itself.  I therefore  determined,  if 
ever  it  arrived  at  a second  edition,  to  give  an  index  to  the  plates  men- 
tioned, which  should  at  the  same  time  be  a catalogue  of  such  illustrative 
collections.  The  names  of  etchers  are  alphabetically  arranged,  and  the 
plates  are  numbered  from  first  to  last  in  Roman  numerals.  If  the  reader 
will  therefore  put  corresponding  numerals  on  the  etchings  he  possesses, 
the  present  index  will  become  at  once  a convenient  catalogue  for  him. 
The  best  way  is  to  put  the  Roman  numerals  in  the  lower  left  hand  corner 
of  the  mount  on  which  the  etching  is  pasted,  and  the  arabic  numerals 
(which  refer  to  the  page  of  this  volume  where  the  plate  is  criticised)  in  the 
lower  right  hand  corner  of  the  mount.  By  this,  reference  becomes  easy 
either  to  the  catalogue  or  the  criticism,  and  the  volume  becomes  a hand- 
book to  the  reader’s  collection. 

A few  remarks  about  the  arrangement  of  collections  may  be  of  use  to 
beginners  who,  having  happily  all  before  them,  have  not  yet  committed 
themselves  to  a bad  system. 

There  are  several  different  ways  of  arranging  and  keeping  a collection 
of  etchings,  but  they  may  all  be  reduced  to  three — 

1.  The  portfolio. 

2.  The  volume. 

3.  The  box  with  shelves. 

The  portfolio  system  requires  no  explanation  whatever.  Every  one 
knows  what  a portfolio  is.  I may  observe,  however,  that  all  portfolios 
should  be  made  with  flaps , which  are  of  immense  utility  for  the  prevention 
of  dust. 

The  volume  system  is  the  one  in  use  at  the  British  Museum.  It  is 
convenient  for  a public  collection,  because  it  exposes  least  to  the  risk  of 
disorder.  The  volumes  are  made  specially  for  the  purpose  with  leaves  of 


448 


CATALOGUE  INDEX 


stout  board,  each  board  having  a hinge  of  its  own.  The  etchings  are 
pasted  to  these  boards  by  the  upper  edge  only.  This  system  is  good  for 
a public  collection,  but  not  so  good  for  a private  one  The  private  owner 
often  shows  his  treasures  to  several  friends  at  once,  and  then  it  is  desirable 
that  they  should  be  separate,  and  not  pasted  in  a book. 

The  box  with  shelves,  is  merely  a box  which  opens  like  a cupboard. 
Inside  it  is  arranged  with  shelves,  which  can  easily  be  drawn  out.  The 
shelves  should  be  of  very  thin  light  wood,  plain  deal  is  best,  or  cedar  for 
a cabinet  de  grand  luxe. 

Of  the  three  systems,  the  last  is  quite  incomparably  the  best.  The 
portfolio  does  sufficiently  for  a collection  in  its  infancy,  but  portfolios 
are  awkward  things,  and  become  shabby  in  time,  which  gives  a collection 
an  untidy  appearance.  You  would  require  a great  number  of  portfolios 
for  anything  like  a considerable  collection.  We  all  begin  with  them,  of 
course,  but  a time  comes  when  they  get  too  full,  and  too  shabby,  and  then 
is  the  time  to  set  up  the  box  system. 

The  most  convenient  way  is  to  have  the  little  boxes  or  cupboards  of 
one  uniform  height,  so  that  you  can  build  them  up  like  stones  in  a wall. 
Sixteen  inches  may  be  fixed  upon  for  the  height.  As  for  the  other 
dimensions,  they  will  depend  upon  the  size  of  the  mounts,  of  which  more 
presently.  The  little  cupboards  or  boxes  should  have  folding  doors  like 
an  herbarium  cabinet,  and  (i please  take  note  of  this)  the  doors  should  be 
so  arranged  by  the  cabinet-maker  that  when  the  boxes  are  built  up  like 
stones  in  a wall,  each  little  pair  of  doors  shall  open  quite  easily,  without 
catching  their  neighbours. 

Having  once  carefully  decided  about  the  sort  of  box  to  be  adopted, 
you  get  the  cabinet-maker  to  make  enough  of  them  for  your  present 
wants,  and  then  add  others  of  the  same  kind  as  your  collection  increases. 
The  collection  will  thus  always  present  a neat  and  uniform  appearance. 

The  shelf  should  be  an  inch  larger  than  the  mount  in  each  direction. 
Do  not  waste  space  in  having  clumsy  thick  shelves.  For  the  two  smaller 
sizes  given  below,  the  shelf  need  only  be  three-sixteenths  of  an  inch  thick, 
for  the  largest  but  one  it  may  be  four- sixteenths,  and  for  the  very  largest 
five-sixteenths. 

There  may  be  ten  shelves  in  each  box.  It  is  desirable  for  order  and 
convenience  to  have  many  shelves,  and  few  etchings  on  each  of  them. 

Now  about  the  mounts.  They  are  made  to  order  of  any  size,  but  it  is 
far  more  convenient  to  take  the  sizes  which  are  always  kept  in  stock  by 
the  artists’  colourmen.  I therefore  give  four  sizes  which  include  all  that 
is  ever  necessary,  except  for  some  very  exceptional  plate,  such  as  Mr. 
Haden’s  Calais  Pier , after  Turner,  which  ought  to  be  framed  and  hung 
on  a wall ; besides,  it  is  not  mentioned  in  the  present  catalogue.  For  a 
very  rich  collection  the  mounts  should  be  hand-made, — the  best  in  the 
world  are  Whatman’s  hand-made  mounting-boards.  More  ordinary 
machine-made  English  boards  are  still  quite  good  enough,  and  they  now 
make  boards  in  Germany  from  wood-paper  which  are  extremely  economi- 
cal and  still  look  very  decent. 


CATALOGUE  INDEX. 


449 


The  following  are  the  sizes  required  : — 


Demy 
Royal 
Imperial  . 
Atlas 


Size  1 8 X 14  (4  sheet). 
„ 22  X 17^  (4  sheet). 
„ 28  X 20  (6  sheet). 
„ 31^  x 24^  (6  sheet). 


The  Atlas  boards  will  only  be  found  necessary  for  such  plates  as  the 
large  ones  by  Flameng  after  Rembrandt,  but  a well-ordered  collection 
ought  to  be  able  to  give  lodging  to  these,  and  to  the  big  Rembrandts, 
without  treating  them  shabbily.  Of  the  four  sizes  the  Royal  is  most 
generally  useful,  the  Demy  is  given  for  small  etchings,  because  it  is  a 
positive  injury  to  them  to  give  them  too  much  margin,  they  look  lost  in 
the  middle  of  a great  board. 

To  mount  an  etching  so  as  to  make  it  enter  into  a regularly  ordered 
collection,  you  begin  by  cutting  the  margin  to  within  an  inch  or  less  of  the 
plate  mark  all  round.  An  inch  is  enough  for  large  plates,  and  half-an- 
inch  for  small  ones,  others  may  vary  between  the  two.  You  then  very 
carefully  paste,  with  stiff  paste,  about  a quarter  of  an  inch  of  the  top  edge 
of  the  paper,  so  as  to  fasten  it  to  the  board,  but  leaving  the  rest  free. 
There  is  no  other  really  satisfactory  way  of  mounting  etchings.  If 
fastened  by  the  four  corners  they  pucker  in  damp  weather. 

Many  of  the  modern  etchings  in  this  catalogue  can  be  easily  procured 
through  the  printsellers  ; the  older  ones  may  be  met  with  occasionally, 
and  at  sales.  The  collector  ought  not  to  be  discouraged  because  his 
collection  is  incomplete — the  pleasure  is  to  have  an  incomplete  collection, 
to  which  one  adds  a good  impression  from  time  to  time.  If  the  reader 
cannot  easily  procure  all  the  etchings  in  this  Catalogue,  he  may  often 
supply  the  place  of  them  temporarily  by  copies,  or  by  photographs,  or 
photo-engravings,  such  as  those  by  the  Amand-Durand  process.  ( See 
page  109 U00^10^)-  When  these  cannot  be  got  the  place  may  be  tem- 
porarily supplied  by  a careful  tracing,  which  will  remind  you  of  the  plate. 
Unfortunately,  in  the  great  public  collections,  tracing  is  not  permitted,  but 
sketching  is,  and  a sketch  of  the  original,  on  the  same  scale,  is  much  better 
than  nothing.  To  have  a perfect  collection  of  originals  is,  in  these  days, 
a luxury  for  Barons  de  Rothschild  or  Dukes  of  Westminster,  yet  com- 
paratively poor  men  may  have  very  interesting  though  incomplete  collec- 
tions. The  great  thing  is  to  enjoy  and  appreciate  the  few  good  things 
we  have,  and  to  enjoy  the  pleasure  of  gradually  adding  to  them. 

Many  readers  may  wonder  that  French  and  English  are  mixed  up  in 
the  titles  of  etchings  here.  They  are  so  chiefly  for  convenience  of 
reference  to  previous  well-known  catalogues,  or  else  because  a title  may 
not  always  have  seemed  conveniently  translatable.  Indeed,  whenever 
the  French  title  is  given  in  preference  to  the  English  one,  there  is  always 
some  reason  for  it.  In  the  case  of  Unger’s  etchings,  for  instance,  I have 
given  the  title  in  English  when  the  catalogue  of  them  was  in  English,  and 
in  French  when  the  catalogue  happened  to  be  published  in  French. 
Sometimes  I have  given  the  title  of  an  etching  in  French  from  simple 

2 G 


45° 


CATALOGUE  INDEX. 


dislike  to  making-  a translation  of  my  own  which  might  not  happen  to  be 
in  the  form  familiar  to  English  collectors.  For  example,  there  is  the 
landscape  by  Rembrandt  “ Le  Bouquet  de  Bois,”  a neat  little  French 
title,  very  well  known.  Of  course  one  might  translate  it,  but  I really 
cannot  tell  by  what  exact  title  the  plate  is  most  familiarly  known  amongst 
English  collectors.  Most  of  the  good  catalogues  have  hitherto  been  in 
French,  so  that  French  titles  have  often  a peculiar  currency. 


Abraham  .... 

I.  Bords  de  l’Oudon  . 

II.  Environs  de  Chateau  Gontier 

Ansdell  .... 

III.  Fellow-commoners  . 

IV.  The  Sentinel  . 


Appian  . . . * 

V.  Marais  de  la  Burbanche,  Ain 
vi.  Mare,  line.  Environs  de  Rosillon 

VII.  Open  Stream 

VIII.  Rocky  River-bed 

IX.  Soir  d’Automne,  Environs  de  Rosillon 
x.  Soir,  Bord  du  Rhone  k Rix,  Ain 
XI.  Souvenir  . . . 

XII.  Valromey,  Ain  . . 


Balfourier 

, xiii.  Marais  pres  d’Elche 
Xiv.  Usine  a Oran 


Ballin  . . . 

Bega  .... 

XV.  Cabaret,  le  . 
xvi.  Femme  portant  la  Cruche  . 
xvn.  Homme  avec  la  Main  dans  le  Pourpoint 


Berghem  .... 

Xviii.  Goat’s  Head  with  black  Forehead 
XIX.  Piper,  the  . 

xx.  Rivulet  by  the  Ruined  Monument 
XXI.  Shepherd  by  the  Fountain  . 
Bianchi  .... 


Boissieu  .... 
xxii.  Passage  du  Garillano,  en  Italie 
Xxiii.  Pont  et  Chateau  de  Sainte  Colomb 
XXIV.  Tonneliers,  les 
xxv.  Village  de  Lantilly,  Entree  du 


en  DauphW 


Bracquemond 
xxvi.  Hare 

xxvil.  Haut  d’un  Battant  de  Porte 
XXViii.  Unearthing  a Badger 
xxix.  Vanneaux  et  Sarcelles  . 


PAGE 

232 

232 

232 

350 
353 

351 

202 
206 

206 

204 

203 

207 
206 

205 
205 

233 
233 

233 

234 

97,  99 
100 
100 

100 

101 
104 
104 

103 

104 
141 
163 
166 

165 

166 
166 

224 
225,  242 
224 

224 

225 


CATALOGUE  INDEX. 


45i 


PAGE 


Brunet-Debaines 

. 

. 

• 

• 

229,  378 

xxx.  Interieur  de  cour  en  Italie,  after  Decamps 

• 

• 

378 

XXXI.  Notre  Dame  de  Bourges 

. 

• 

• 

230 

XXXII.  Place  Royale  a Dole 

. 

• 

229 

XXXIII.  Rue  des  Grands  Degres,  k Blois 

• 

230 

xxxiv.  Ruined  Castle  on  a Lake,  after  Albert  Cuyp 

• 

378 

xxxv.  Verdun  sur  le  Doubs 

• 

• 

229 

Callot  .... 

• 

• 

161 

xxxvi.  Louvre  . 

• 

• 

• 

164 

xxxvii.  Tour  de  Nesle  . 

• 

• 

• 

• 

164 

Canaletti 

• 

• 

• 

• 

hi 

xxxviii.  Procuratie  e S.  Ziminian . 

* 

• 

• 

• 

114 

xxxix.  Torre  di  Malghera 

• 

• 

• 

• 

114 

Chaigneau 

• 

• 

• 

• 

231 

XL.  Femme  Gardant  des  Moutons 

• 

• 

• 

• 

231 

xli.  Moutons  en  Plaine  . 

• 

• 

• 

• 

231 

Chattock  .... 

• 

• 

• 

• 

353 

XLii.  Boveney  Lock 

• 

•* 

• 

• 

• 

355 

xliii.  Eton  College  from  the  River 

t 

• 

• 

• 

356 

XLIV.  Monkey  Island  . 

• 

• 

• 

356 

XLV.  Watering-place,  after  Gainsborough 

• 

• 

• 

354 

XLVi.  When  Rosy  Plumelets  tuft  the  Larch 

• 

• 

• 

355 

Chauvel  .... 

• 

• 

• 

• 

231 

xlvii.  Environs  de  Rouen 

• 

• 

• 

231 

XLVili.  Fleury,  Marne 

• 

• 

• 

• 

231 

xlix.  Grenouille  et  le  Bceuf 

• 

• 

• 

• 

231 

Chifflart 

• 

• 

• 

• 

208 

L.  Jour  de  Recompense 

• 

• 

• 

• 

210 

LI.  Perseus  and  Andromeda  . 

• 

• 

211 

Lii.  Perseus,  having  slain  Medusa,  holds  out 

: her  severed  head 

211 

Lin.  Plutus 

• 

• 

210 

Liv.  Sarcophagus 

• 

• 

• 

210 

lv.  Surprise  . 

• 

• 

• 

209 

Claude  .... 

• 

• 

• 

157 

lvi.  Berger  et  Bergere  conversant 

• 

• 

• 

160 

lvii.  Bouvier,  le 

• 

• 

• 

158 

LVlil.  Brigands,  Scene  de 

• 

• 

• 

160 

Lix.  Danse,  la,  sous  les  arbres 

• 

• 

• 

160 

lx.  Danse  Villageoise. 

• 

• 

• 

159 

LXI.  Soleil  Couchant  . 

• 

• 

• 

158 

LXI  1.  Troupeau  en  Marche  par  un  temps  d’orage 

• 

• 

• 

159 

Cope  .... 

• 

• 

• 

• 

34i 

lxiii.  Life  School,  Royal  Academy 

• 

• 

• 

• 

342 

lxiv.  Winter  Song  . . 

• 

• 

• 

342 

Corot  .... 

• 

• 

• 

232 

lxv  Environs  de  Rome 

. 

• 

• 

• 

223 

45  2 


CATALOGUE  INDEX. 


PAGE 


lxvi.  Paysage  d’  Italie  . . . 

lxvii.  Souvenir  d’  Italie  . • 

• 

• 

• 

• 

• 

223 

223 

Creswick  ..... 

• 

• 

• 

345 

lxviii.  Deserted  Village,  plate  2 . 

• 

• 

• 

347 

LXIX.  Deserted  Village,  plate  19 

• 

• 

• 

347 

LXX.  Deserted  Village,  plate  34 

• 

• 

9 

347 

lxxi.  Roughish  Road  by  the  Loch-side 

• 

• 

• 

347 

Cruikshank  .... 

• 

• 

• 

316 

lxxii.  Dougal  MacCallum  and  Hutcheon 

• 

• 

• 

323 

Lxxiii.  Elves  and  the  Shoemaker 

• 

• 

• 

321 

Lxxiv.  Folly  of  Crime  . 

• 

• 

• 

3*9 

lxxv.  Return  from  a delightful  trip  on  the  Continent 

• 

• 

• 

322 

Daubigny  .... 

• 

• 

• 

195 

lxxvt.  Aides,  les  . ' . 

• 

• 

• 

199 

Lxxvii.  Daubigny  travaillant  dans  sa  Cabine 

• 

• 

• 

198 

LXXVIII.  Dejeuner  a 1’  Auberge  . . 

• 

• 

• 

197 

lxxix.  Gue,  le  . 

• 

• 

• 

200 

LXXX.  Nuit  sur  la  Riviere  . . 

• 

• 

• 

198 

lxxxi.  Parc  a Moutons  : le  Matin  . 

• 

• 

• 

199 

Lxxxu.  Recherche  de  l’Auberge  . • 

• 

• 

• 

198 

LXXXili.  Vendanges,  les  . • • 

• 

• 

200 

Delacroix  .... 

• 

• 

• 

147 

Detaille  ..... 

• 

• 

235 

lxxxi v.  Trompette  de  Chasseurs . • 

• 

• 

• 

235 

LXXXV.  Uhlan,  un  . * • 

• 

• 

• 

235 

Dietrich  .... 

• 

• 

• 

112 

lxxx vi.  Satyr,  the,  in  Peasant’s  House  . 

• 

• 

• 

116 

Doyle  ..... 

• 

• 

• 

3i7 

Lxxxvii.  His  Highness  . 

• 

• 

• 

324 

Lxxxvm.  Meditation 

• 

• 

324 

lxxxix.  Student  of  the  old  Masters 

• 

• 

323 

Dujardin,  Karl  .... 

• 

• 

IOI 

xc.  Cow,  Sheep,  and  Herdsman,  with  a C 

'ity  in  the  distance 

106 

xci.  Ruin  near  a Stream,  Artist  sketching 

• 

106 

Durer  ..... 

• 

7i 

xcii.  St.  Jerome 

• 

• 

72 

XClil.  Virgin  and  Child 

• 

• 

72 

Everdingen  .... 

• 

• 

113 

xciv.  Man,  the,  near  a gap  in  a Fence 

• 

• 

• 

117 

xcv.  Torrent,  Cottages  by  . 

• 

• 

• 

116 

Feyen-Perrin  .... 

• 

• 

• 

226 

xcvi.  Sailor’s  Infancy  . • 

• 

• 

• 

227 

xcvn.  Vanneuses  de  Cancale  . • 

• 

• 

• 

227 

CATALOGUE  INDEX. 


453 


PAGE 


Flameng  ........  15 1,  369 

XCViil.  Abreuvoir,  after  Troyon  . . . . .371 

XCIX.  Francis  I.  and  the  Duchess  of  Etampes,  after  Bonnington  . 371 

C.  Hundred-Guilder  Print,  Flameng’s  copy  of  . . 399 

Cl.  Night  Watch,  after  Rembrandt  ....  369 

Gaucherel  .......  225, 379 

Cil.  Avenue,  Middlehamis,  Holland,  after  Hobbema  . . 379 

cm.  Canal  in  Venice  ......  226 

civ.  Sun  of  Venice  going  to  Sea,  after  Turner  . . . 379 

Gauermann  ........  140 

Geddes  .........  274 

cv.  Give  the  Devil  his  Due  . . . . .274 

cvi.  Head  of  Martin,  an  auctioneer  at  Edinburgh  . • .274 

evil.  Landscape  .......  277 

cviil.  Little  Girl  holding  a Pear  .....  276 


George  .........  354 

cix.  Amboise,  Chateau  and  Bridge  ....  359 

CX.  Angers,  Plotel  de  Pince  . . . . .358 

cxi.  Schloss  Elz,  View  of  the  Castle  approached  from  Carden  . 357 

cxii.  Trier,  the  Market-place,  Fountain,  and  Rothes-Haus  . 356 


Gilli,  Alberto  Maso  .......  141 

cxiii.  Un  Rimprovero  ......  142 

Goya  123 

CXIV.  Bull-fighting ; plate  3 . . . . .126 

CXV.  Bull-fighting ; plate  7 . . , . .126 

CXVI.  Bull-fighting ; plate  10  . . . , .126 

CXVII.  Caprices ; plate  23,  Aquellos  Polbos  . . . 126 

CXVill.  Caprices  ; plate  36,  Mala  Noche  ....  127 

cxix.  Caprices ; plate  30,  Porque  esconderlos  ? . • . 127 

Gravesande,  Van  S’  . . . . . .133 

cxx.  Abconde,  le  Lac  de  . . . . . .134 

cxxi.  Escaut  a Burght  pres  Anvers  . . . .136 

cxxn.  Foret,  Entree  de  . . . . .136 

exxm.  Gein,  pres  Abconde,  au  bord  du  . . . . 135 

CXXIV.  Peche,  Retour  de  la  . . . . , . 136 

exxv.  Pecheurs  sur  la  cote  de  Normandie  ....  137 

Haden  .........  294 

exxvi.  Agamemnon,  the  . . . . 257,  308 

exxvil.  Battersea  Reach  ......  307 

CXXVIII.  Early  Morning  in  Richmond  Park  ....  306 

cxxix.  House  of  Benjamin  Davis,  Smith  (Newcastle-in-Emlyn,  South 

Wales)  .......  306 

CXXX.  Out  of  Study  Window  .....  300 

cxxxi.  Sunset  in  Tipperary  ......  30 3 

cxxxn.  Sunset  on  the  Thames  . . . . .301 

CXXXlli.  Shere  Mill-pond,  Surrey  .....  304 


454 


CATALOGUE  INDEX. 


PAGB 

CXXXIV.  Towing-Path  . . . . • . 303 

cxxxv.  Whistler’s  House  at  Old  Chelsea  . • • 302 

Hollar  . . . . . . • • .108 

cxxxvi.  Gentleman  playing  on  a Guitar  . . • .110 

cxxxvii.  Greenwich,  the  long  view  of  . • • • .110 


Hook  .... 
CXXXVIII.  Fisherman’s  Good-night 
cxxxix.  Gathering  eggs  from  the  Cliff 


341 

344 

343 


Horsley  ...... 

cxl.  Deserted  Village ; plate  61  . . 

cxli.  Duenna’s  Return  . . . 

cxlii.  Weaver’s  Cottage,  interior  of  • 


341 
343 

342 

343 


Jacque  . . . , . • • • • 189 

CXLiii.  Ferme  .......  192 

CXLIV.  Hiver.  .......  193 

cxlv.  Labourage  . . • • • • .194 

CXLVI.  Pastoral  . . • • • • .191 

cxlvii.  Petits,  Petits ! . • • • • .192 


Jacquemart  .......  183, 382 

cxlviii.  Coupe  de  Jaspe  Oriental  .....  187 

cxlix.  Coupe  de  Jaspe  Oriental  . . . • .188 

CL.  Drageoir  de  Cristal  de  Roche  . . . .188 

CLI.  Dutch  Cottage,  interior  of,  after  Willem  Kalf  . . 385 

clii.  Elisabeth  de  Valois,  Reine  d’Espagne,  after  Sir  Antonio  Moro  387 
cliii.  Fleurs,  Huit  etudes  et  compositions  de  . . .186 

cliv.  Hanap  de  Cristal  de  Roche  ....  187 

CLV.  Histoire  de  la  Porcelaine  ; plate  6 . . . .185 

CLVI.  Histoire  de  la  Porcelaine;  plates  14  and  15  . . . 185 

CLVil.  Moerdyck,  after  Van  Goyen  ....  384 

CLVIll.  Repose,  after  Berghem  .....  382 

CLIX.  Saliere  de  Lapis  Lazuli  . . . . .188 

CLX.  Vase  de  Jaspe  Oriental  .....  187 

CLXI.  Vase  Antique  de  Porphyre  . . . . .187 

clxii.  Vase  Antique  de  Sardoine  . . . . .186 

clxiii.  Young  Woman,  Portrait  of,  after  Lucas  Cranach  the  younger  386 

Jongkind  ....  .....  128 

clxiv.  Honfleur,.  entrance  to  the  Port  . . • . 13 1 

clxv.  Honfleur,  Sortie  du  Port  . . . • .132 

CLXVI.  Honfleur,  view  of  the  Railway  Port  . • • . 13 1 

CLXVil.  Town  of  Maaslins,  Holland  ....  I3C 

Knight  .........  351 

CLXViii.  Drinking  Song  ......  352 

clxix.  Peasant  and  the  Forest  .....  352 

Laguillermie  ....  . . i55>  372 

clxx.  Dwarf  of  Philip  IV.  of  Spain,  after  Velasquez  . . 372 


CATALOGUE  INDEX. 


455 


Lalanne  . 

CLXXI. 

. CLXXII. 

CLXXIII. 

CLXXIV. 

CLXXV. 

CLXXVI. 

CLXXVII. 

CLXXVIII. 

CLXX1X. 

CLXXX. 

CLXXXI. 

Lalauze  . 

CLXXXII. 

CLXXXIII. 

CLXXXIV. 

CLXXXV. 

LAN5ON 

CLXXXVI. 

CLXXXVII. 

CLXXXVI  1 1. 

Legros 

CLXXXIX. 

CXC. 

CXCI. 

Le  Rat 

cxcii. 

Giovanni  Bellini 
Longueville,  De 


CXCIII. 

Au  Mouillage  . . . 

• 

CXCIV. 

En  Mer  .... 

# 

• 

cxcv. 

Sous  Vapeur 

CXCVI. 

Sous  voiles  courant  Grand  Largue  . 

• 

Martial  . 

• • • • • 

# 

CXCVII. 

Houses  at  the  Angle  of  the  Boulevard  des  Capucines 
the  Rue  de  la  Paix  .... 

and 

CXCVIII. 

Lettre  sur  l’Eauforte 

# 

CXCIX. 

Porte  de  la  Sacristie  du  College  k Beauvais 

• 

cc. 

Rue  des  Precheurs  . 

# 

• 

CCI. 

Rue  du  Pantour  St.  Gervais 

• 

• 

ecu. 

Theatre  du  Vaudeville  . . 

• 

• 

CCIII, 

Tourelle  de  l’Hotel  Schomberg  . 

• 

• 

Meissonier 

• 

• 

M£ryon  . 

• 

• 

CCIV. 

Notre-Dame  de  Paris,  Abside  de  . 

• 

• 

ccv. 

Pompe,  la,  Notre-Dame  . . 

• 

• 

CCVI. 

Pont  Neuf  .... 

• 

Bordeaux,  a . . 

Concorde,  Pont  de  la,  Paris  .... 
Demolition  pour  le  percement  de  la  Rue  des  ^coles 
Demolition  pour  le  percement  du  Boulevard  St.  Germain 
Environs  de  Paris  .... 

Fribourg,  Suisse  .... 

Hugo,  Victor,  house  of,  twelve  small  Etchings 
Landscape  in  the  Traite  de  la  Gravure  & V Eauforte 
Neuilly,  Seine 

Rue  des  Marmousets  (Vieux  Paris) 

Vue  Prise  du  Pont  St. -Michel 


Baby  is  very  Good 
Baby’s  Soup 
Drawing  Lesson 
Music  Lesson 


Faubourg,  30  A out  soir,  1870 
Boulevard  Montrouge  1871  . 
Route  de  Mouzon,  31  Aout  1870 

Bell-Ringer  . 

Bonhomme  Misere  . 

Coming  out  of  Church 


Leonardo  Loredano,  Doge  of  Venice,  Portrait 


212, 


of,  after 


PAGE 

177 

178 
180 
179 

179 

180 
182 
l8l 
l8l 
ISO 
178 
180 

212 
212 
212 
, 2l6 
212 

234 

235 
235 
235 
227 
228 
228 
229 
383 

382 

233 

234 
234 
234 
234 
214 

2l6 

215 

2I4 

214 

214 

218 

214 

147 

167 

174 

174 

176 


CATALOGUE  INDEX. 


45  6 


PAGB 

ccvil.  Rue  des  Toiles,  Bourges  . . . . .175 

ccviii.  Stryge,  le  . . . . . . .172 

ccix.  Tourelle,  Rue  de  la  Tixeranderie  . . . . 175 

Millais  .........  339 

ccx.  The  Young  Mother  ......  340 

Mongin  .........  379 

ccxi.  Estafette,  after  Meissonier  . . . . . 379 

Morgenstern  ........  140 

Neuville,  De  .......  , 235 

ccxii.  Mobiles  a la  Tranchee,  Siege  de  Paris  . . . 235 

Ostade  . . . . . . • • . 97,  98 

ccxiii.  Famille,  la  . . . • . . .99 

ccxiv.  Hurdy-gurdy  Player  . • . . . 100 

Palmer  .......  . 324 

ccxv.  Come,  thou  Monarch  of  the  Vine  • • • *337 

ccxvi.  Early  Ploughman  ......  329 

ccxvii.  Full  Moon  .......  336 

CCXVlli.  Herdsman  .......  332 

CCXIX.  Rising  Moon  ......  333 

ccxx.  Sunrise  . • . . . • *337 


Potter,  Paul  101,  102 

ccxxi.  Bull,  the  . . . . . .105 

CCXXII.  Cheval  de  la  Frise  . . . . . .105 

CCXXiil.  Cheval  Fremissant  ......  105 

ccxxiv.  Cows,  two,  in  foreground,  Herdsman  and  three  other  Cows 

in  middle  distance  .....  105 

CCXXV.  Horses,  three  Studies  of  . . . . 105 

ccxxvi.  Mazette,  la  . . . . . . . 105 

Queyroy  .........  221 

ccxxvii.  House  of  Jacques  Coeur  at  Bourges  . . . 222 

ccxxviii.  Loches  . . . . . . .221 

ccxxix.  Rue  des  Arenes  at  Bourges  ....  222 


Rajon  .........  373 

ccxxx.  Dutch  Housewife,  after  Nicolas  Maes  . . *375 

ccxxxi.  John  Stuart  Mill,  portrait  of,  after  G.  F.  Watts,  R.A.  . 373 

Redgrave  .........  346 

ccxxxil.  Barbara  .......  348 

ccxxxiii.  Corpse  discovered  in  a Wood  ....  348 

ccxxxiv.  Silver  Thames  ......  348 

Rembrandt  ........  73 

CCXXXV.  Abraham’s  Sacrifice  .....  83 

ccxxxvi.  Ansloo,  Cornelius,  portrait  of  . • • .92 

CCXXXVli.  Asselyn,  portrait  of  . • • • . 93 

ccxxxviii.  Bathers  .......  88 

ccxxxix.  Bouquet  de  Bois  ......  95 


CATALOGUE  INDEX. 


457 


PAGE 

CCXL.  Christ  Healing  the  Sick  . . . .85 

CCXLI.  Clement  de  Jonghe,  portrait  of  . . • 93 

ccxlii.  Coppenol,  the  lesser  (a  portrait)  ....  93 

CCXLIII.  Cottage  with  the  Great  Tree  . . • . 95 

CCXLiv.  Death  of  the  Virgin  .....  87 

CCXLV.  Descent  from  the  Cross  by  Torchlight  ...  86 

CCXLVI.  Diana  at  the  Bath  ......  9° 

CCXLVII.  Ephraim  Bonus,  portrait  of  . ...  93 

CCXLViii.  Hagar  dismissed  by  Abraham  ....  82 

CCXLIX.  Hundred  Guilder  Print  . . • • .81 

CCL.  Jacob  and  Laban  ......  83 

CCLI.  Janus  Lutma,  portrait  of  . • • • 93 

CCLII.  Jesus  Christ  preaching  . . • . .84 

CCLIII.  Lion  Hunt  .......  88 

ccliv.  Mendiants,  Homme  et  Femme  ....  89 

CCLV.  Mother  of  Rembrandt,  portrait  of  . . . .91 

CCLVI.  Mother  of  Rembrandt,  another  portrait  of  . . . 92 

CCLVil.  Naked  man  seated  on  the  ground  ....  9° 

CCLvm.  Omval,  view  of  .....  95 

CCLix.  Presentation  in  the  Temple  . . • .83 

cclx.  Repose  in  Egypt  ......  84 

cclxi.  Return  of  the  Prodigal  Son  . • • .84 

CCLXii.  Six,  Bridge  of  ......  95 

CCLXiii.  Six  (the  Burgomaster),  portrait  of  . • • *93 

cclxi v.  Sleeping  Dog  . . . • • .81 

CCLXV.  Square  Tower,  Landscape  with  ....  95 

cclxvi.  Three  Cottages,  Landscape  with  . . • *95 

cclxvii.  Three  Crosses  ......  86 

CCLXViii.  Three  Oriental  Figures  .....  83 

cclxix.  Tower,  Landscape  with  . . . . • 95 

CCLXX.  Youth  surprised  by  Death  .....  88 

cclxxi.  Uytenbogaert,  the  gold- weigher,  portrait  of  • *93 

Ridley  .........  346 

cclxxii.  Draham  Harbour  ......  349 

CCLXXiii.  Durham  .......  349 

cclxxiv.  North  Dock  ......  349 

Rochebrune,  De  . . . . . . . . 230 

cclxxv.  Cheminee  de  1’ Atelier  de  Terre-Neuve,  Vendee  . . 230 

CCLXXVI.  Porte  de  l’Atelier  de  Terre-Neuve  ....  230 

Ruskin  .........  278 

cclxxvii.  Arch  from  the  Fagade  of  the  Church  of  St.  Michele  at  Lucca  285 

CCLXXvm.  Capital  from  the  lower  arcade  of  the  Doge’s  Palace,  Venice  283 

CCLXXiX.  Crests  of  La  Cote  and  Taconay  ....  287 

CCLXXX.  Part  of  the  Cathedral  of  St.  Lo,  Normandy  . . 284 

CCLXXXI.  Pass  of  Faido.  Simple  topography  . . . 286 

cclxxxii.  Window  from  the  Ca’  Foscari,  Venice  . . . 285 

Ruysdael  . . . . . . . .112 

cclxxxiii.  Bridge,  the  Little  . . . . . .115 

CCLXXXiv.  Travellers,  the  . . . . . .115 


2 II 


CATALOGUE  INDEX. 


458 


PAGE 

Salvator  . . . . . . . .112 

cclxxxv.  CEdipus,  the  Abandonment  of  . . . . 115 

Sartirana,  Duke  of  . . , . . .141 

cclxxxvi.  En  Italie,  La  Peche  aux  Grenouilles  • • . 141 

Soumy  ........  150,  233 

cclxxxvii.  Forges  d’Allevar  en  Dauphine  ....  233 

Tayler 350 

cclxxxviii.  Day’s  Hunting  in  the  Fens  . . . .351 

cclxxxix.  Forester’s  Song  . . . # . • 351 

Trooftwyk  140 


Turner  .........  261 

ccxc.  Calm  . . . . . . .271 

CCXCI.  Dumbarton  . 4 . . . „ . . 268 

CCXCII.  ^Fsacus  and  Hesperia  .....  267 

ccxcm.  Inverary  Pier.  Loch  Fyne,  Morning  . . . 269 

ccxciv.  Jason  . . . . . . .270 

ccxcv.  Little  Devil’s  Bridge,  over  the  Russ  above  Altdorft  . 271 

CCXCVI.  Weedy  foreground,  man  ploughing  . . . 269 


Unger  ........  138,  387 

ccxcvn.  Buste  de  Femme,  after  Rembrandt  . . . 390 

ccxcvm.  Cephale  et  Procris,  after  a picture  supposed  to  be  by  Guido 

Reni  . . . . . .395 

CCXCIX.  Chanoine,  Portrait  d’  un  after  Antonis  Mor  Van  Dashorst  393 

ccc.  Dormeur,  le,  after  A.  Van  Ostade . ...  390 

ccci.  Eau  Calme,  after  Willem  Van  de  Velde  the  younger  . 391 

CCCII.  Franz  Hals  and  Lysbeth  Reyniers,  his  second  wife,  after 
Franz  Hals  .......  394 

CCCin.  Governors  of  the  Asylum  for  old  men  in  1664,  after  Franz 

Hals  ........  394 

CCCIV.  Hail,  Fidelity  ! also  designated  Sir  Ramp  and  his  Mistress, 

after  Franz  Hals  .......  393 

CCCV.  Homme,  Portrait  de,  after  Tintoret  . . . 392 

cccvi.  Jeune  Couple  dans  leur  Salon,  after  Gonzales  Coques  . 387 

cccvil.  Paysage  Montagneux,  after  Rembrandt  • . . 389 

cccviu.  Vaches,  Les  Quatre,  after  Paul  Potter  . . . 395 

Vandyke  ........  107 

CCCIX.  Snellinx,  Joannes,  portrait  of  . . . .109 

CCCX.  Suttermans,  Justus,  portrait  of  . . . .109 

CCCXI.  Vorstermans,  Lucas,  portrait  of  . . .109 

CCCXII.  Vrannx,  Franciscus,  portrait  of  . . . 109 


Veyrassat 

cccxiii.  Bac,  le 

cccxiv.  Cornstack,  making  a 


213 

213 

217 


V ILLEVIEILLE 

CCCXV.  En  Picardie 
cccxvi.  Nohant-Vicq 


232 

232 

232 


CATALOGUE  INDEX , 


459 


PAGE 

Waltner 

. 

• 

• 

• 

376 

CCCXVII.  Angelus,  after  Millet 

. 

• 

• 

• 

376 

cccxvm.  Dans  la  Rosee,  after  Carolus  Duran 

• 

• 

• 

377 

Waterloo 

. 

• 

• 

• 

• 

113 

cccxix.  Study  of  trees 

• 

• 

• 

• 

• 

U7 

Wei  ROTTER 

. 

• 

• 

• 

• 

“3 

cccxx.  Civita  Vecchia 

• 

• 

• 

• 

• 

118 

cccxxi.  River  scene  . 

• 

• 

• 

• 

• 

117 

Whistler 

• 

• 

• 

• 

288 

cccxxii.  Girl  leaning  against  a door-post 

• 

• 

• 

• 

291 

cccxxiii.  Black  Lion  Wharf  . 

. 

• 

• 

• 

• 

291 

cccxxi v.  Boats  at  a Mooring — Evening 

• 

• 

• 

293 

cccxxv.  Hungerford  Bridge  . 

. 

• 

• 

• 

• 

290 

cccxxvi.  Wapping,  Wharf  . 

• 

• 

• 

• 

291 

Wilkie  .... 

. 

• 

• 

• 

273 

cccxxvii.  Boys  and  Dogs,  or  the  Seat  of  Hands 

• 

• 

273, 

275 

cccxxviii.  Gentleman  at  his  Desk 

. 

• 

• 

275 

cccxxix.  Pope  examining  a Censer 

. 

• 

• 

273, 

274 

cccxxx.  Reading  the  Will  . 

• 

• 

• 

• 

273, 

276 

Wise  .... 

. 

• 

• 

• 

381 

cccxxxi.  Triumph  of  Scipio,  after  Mantegna 

• 

• 

• 

• 

381 

WURTHLE  .... 

. 

• 

• 

• 

• 

140 

Zeeman  .... 

• 

• 

• 

• 

• 

119 

cccxxxii.  Marine  Subject  I 

• 

• 

• 

• 

• 

121 

cccxxxiii.  Marine  Subject  2 

• 

• 

• 

• 

• 

122 

cccxxxiv.  Marine  Subject  3 • 

• 

• 

• 

• 

• 

122 

Zimmerman  n 

• 

• 

t 

• 

140 

MR.  HAMERTON’S  WORKS 


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that  nothing  else  gives,  and  the  enjoyment  of  it  grows  with  every  new  book  that  the  author 
writes.  These  out-door  books  of  Mr.  Hamerton  are  more  attractive  than  his  graver  works 
which  treat  of  the  Intellectual  Life  and  of  Art,  although  those  are  admirable  in  their  way. 
But  ‘The  Unknown  River,’  ‘ Chapters  on  Animals,’  and  ‘The  Sylvan  Year,’  have  a sim- 
plicity, a delicacy,  a depth  of  feeling,  and  a wealth  of  literary  beauty  that  are  very  rarely  found 
united.”  — Boston  Correspondent  of  the  Worcester  Spy. 


MR.  HA  MER  T ON'S  WORKS. 


THOUGHTS  ABOUT  ART.  New  Edition,  Revised,  with 

Notes  and  an  Introduction.  “Fortunate  is  he  who  at  an  early  age  knows  what 
art  is.”  — Goethe.  Square  i2mo.  Price  $2.00. 

“The  whole  volume  is  adapted  to  give  a wholesome  stimulus  to  the  taste  for  art,  and  to 
place  it  in  an  intelligent  and  wise  direction.  With  a knowledge  of  the  principles,  which  it  sets 
forth  in  a style  at  peculiar  fascination,  the  reader  is  prepared  to  enjoy  the  wonders  of  ancient 
and  modern  art,  with  a fresh  sense  of  their  beauty,  and  a critical  recognition  of  the  sources  of 
their  power.”  — New  York  Tribune. 


A PAINTER’S  CAMP.  A New  Edition,  in  i vol.  i6mo. 

Price  $1.50.  Square  i2mo.  Price  #2.00. 

“ If  any  reader  whose  eye  chances  to  meet  this  article  has  read  ‘ The  Painter’s  Camp,’  by 
Mr.  Philip  Gilbert  Hamerton,  he  wiil  need  but  little  stimulus  to  feel  assured  that  the  same 
author’s  work,  entitled  ‘Thoughts  about  Art,’  is  worth  his  attention.  The  former,  I confess, 
was  so  unique  that  no  author  should  be  expected  to  repeat  the  sensation  produced  by  it.  Like 
the  ‘Adventures  of  Robinson  Crusoe,’  or  the  ‘ Swiss  Family  Robinson,’  it  brought  to  maturer 
minds,  as  those  do  to  all,  the  flavor  of  breezy  out-of-door  experiences,  — an  aroma  of  poetry 
and  adventure  combined.  It  was  full  of  art,  and  art-discussions  too ; and  yet  it  needed  no 
rare  technical  knowledge  to  understand  and  enjoy  it.”  — Joel  Benton. 

“They  (‘A  Painter’s  Camp’  and  ‘ Thoughts  about  Art’)  are  the  most  useful  books  that 
could  be  placed  in  the  hands  of  the  American  art  public.  If  we  were  asked  where  the  most 
intelligent,  the  most  trustworthy,  the  most  practical,  and  the  most  interesting  exposition  of 
modern  art  and  cognate  subjects  is  to  be  found,  we  should  point  to  Hamerton’s  writings.”  — 
The  Atlantic  Monthly. 

THE  UNKNOWN  RIVER : An  Etcher’s  Voyage  of  Discov- 
ery. With  an  original  Preface  for  the  American  Edition,  and  Thirty-seven  Plates 
etched  by  the  Author.  One  elegant  8vo  volume,  bound  in  cloth,  extra,  gilt,  and 
gilt  edges.  Price  $ 6.00 . A cheaper  edition,  square  i2mo.  Price  $2.00. 

“ Wordsworth  might  like  to  come  back  to  earth  for  a summer,  and  voyage  with  Philip  Gil- 
bert Hamerton  down  some  ‘ Unknown  River’  ! If  this  supposition  seem  extravagant  to  any 
man,  let  him  buy  and  read  ‘The  Unknown  River,  an  Etcher’s  Voyage  of  Discovery,’  by 
P.  G.  Hamerton.  It  is  not  easy  to  write  soberly  about  this  book  while  fresh  from  its  presence. 
The  subtle  charm  of  the  very  title  is  indescribable  ; it  lays  hold  in  the  outset  on  the  deepest 
romance  in  every  heart ; it  is  the  very  voyage  we  are  all  yearning  for.  When,  later  on,  we  are 
told  that  this  ‘Unknown  River’  is  the  Arroux,  in  the  eastern  highlands  of  France,  that  it 
empties  into  the  Loire,  and  has  on  its  shores  ancient  towns  of  historic  interest,  w'e  do  not  quite 
believe  it.  Mr.  Hamerton  has  flung  a stronger  spell  by  his  first  word  than  he  knew.”  — 
Scribner's  Monthly. 

CHAPTERS  ON  ANIMALS.  With  Eight  Illustrations  by 

J.  V eyrassat  and  Karl  Bodmer.  Square  i2mo.  Price  $ 2.00 . 

“ This  is  a choice  book.  Only  such  a man  as  Hamerton  could  have  written  it,  who,  by  virtue 
of  his  great  love  of  art,  has  been  a quick  and  keen  observer  of  nature,  who  has  lived  with  and 
loved  animal  nature,  and  made  friends  and  companions  of  the  dog  and  horse  and  bird.  And 
of  such,  how  few  there  are  ! Mr.  Hamerton  has  observed  to  much  purpose,  for  he  has  a curious 
sympathy  with  the  ‘ painful  mystery  of  brute  Creation,’  as  Dr.  Arnold  called  it.  He  recognizes 
the  beauty  and  the  burden  of  that  life  which  is  bounded  by  so  fine  and  sensitive  a mortality. 
He  finds  in  the  uses  of  the  domestic  animal  something  supplementary  to  his  own  manhood, 
and  which  develops  both  the  head  and  heart  of  the  good  master.  . We  have  been  often  reminded 
ot  Montaigne  in  reading  this  book,  as  we  always  associate  him  with  his  cat.”  — Boston  Courier 


MR.  HA  MER  T ON’S  WORKS. 


THE  LIFE  OF  J.  M.  W.  TURNER,  R.  A.  Square  iamo. 

Price  $2.00. 

“We  have  found  his  volume  thoioughly  fascinating,  and  think  that  no  open-minded  reader 
of  the  ‘ Modern  Painters  ’ should  neglect  to  read  this  ‘ Life.’  In  it  he  will  find  Turner 
dethroned  from  the  pinnacle  of  a demi-god  on  which  Ruskin  has  set  him  (greatly  to  the 
artist’s  disadvantage),  but  he  will  also  find  him  placed  on  another  reasonably  high  pedestal 
where  one  may  admire  him  intelligently  and  lovingly,  in  spite  of  the  defects  in  drawing,  the 
occasional  lapses  of  coloring  and  the  other  peculiarities,  which  are  made  clear  to  his  observa- 
tion by  Mr.  Hamerton’s  discussion.”  — Boston  Courier. 

ETCHING  AND  ETCHERS.  Illustrated  with  Etchings 

printed  in  Paris  under  the  supervision  of  Mr.  Hamerton.  A new,  revised,  and 

enlarged  Edition.  8vo.  Cloth,  gilt  and  black.  Price  $$.co. 

“We  are  not  in  the  habit  of  overpraising  publishers  or  authors,  but  we  have  no  hesitation 
in  saying  that  Mr.  Hamerton’s  ‘ Etching  and  Etchers  ’ will  henceforth  deserve  to  have,  and 
certainly  obtain,  a place  in  every  gentleman’s  library  in  the  country  who  can  afford  to  buy  the 
book.  The  subject  is  treated  so  conscientiously,  there  is  such  a maturity  and  repose  of  thought 
and  exposition,  and  in  every  page,  whether  you  agree  or  disagree,  so  much  to  think  over  with 
luxurious  reflection,  besides  which  the  illustrations  are  so  valuable  and  delicately  chosen  for 
the  object  in  view,  that  the  book  rather  resembles  the  mediaeval  labors  of  life-long  devotion, 
than  a nineteenth-century  forty-steam-power  of  ephemeral  production.”  — The  Spectator. 

THE  GRAPHIC  ARTS : A Treatise  on  the  Varieties  of 

Drawing,  Painting,  and  Engraving  in  Comparison  with  each  other  and  with  Nature. 

Square  i2mo.  Price  $2.00. 

“ Few  books  have  issued  from  the  American  press  of  more  deserved  and  general  interest 
and  value.  The  volume  displays  a vast  amount  of  artistic  knowledge  and  research,  and  a 
thorough  familiarity  with  all  the  literature  of  the  subject,  and  with  general  literature  as  well, 
besides  showing  his  own  conspicuous  and  graceful  literary  accomplishment.  It  is  a volume 
most  to  be  welcomed,  however,  for  its  probable  effect  in  widening  the  respect  for  graphic  art 
in  its  various  forms  through  making  men  and  women  of  some  literary  culture  better  acquainted 
with  its  reason  and  method  as  well  as  its  beauty.”  — Chicago  Times. 

ROUND  MY  HOUSE.  Notes  of  Rural  Life  in  France  in 

Peace  and  War.  Square  i2mo.  Price  $2.00. 

“ Whatever  the  subject  he  chooses,  and  he  is  at  home  with  a good  many,  Mr.  Hamerton  is 
pretty  sure  to  write  an  entertaining  book,  and  this  one,  which  gives  an  account  of  his  life  in 
France,  is  no  exception.  He  takes  the  reader  into  his  confidence,  and  tells  him  just  how  hard 
it  was  to  find  exactly  the  sort  of  house  he  wanted.  . . . After  describing  this  tempting  place, 
the  author  goes  on  to  give  his  readers  just  that  full  record  of  what  he  saw  in  his  daily  life, 
which  is  most  interesting  and  useful  to  an  outsider.  The  merit  of  this  part  is,  that  it  so  exactly 
resembles  the  talk  of  a sensible  man  whose  tact  enables  him  to  know  just  what  his  hearers 
would  like  to  hear.”  — Atlantic  Monthly. 

WENDERHOLME : a Tale  of  Yorkshire  and  Lancashire. 

Square  i2mo.  Price  $2.00. 

“To  those  who  are  familiar  with  other  works  by  Mr.  Hamerton,  it  maybe  sufficient,  in  a 
general  way,  to  say  that  ‘ Wenderholme’  is  characterized  by  the  same  thoroughness,  the  same 
simplicity,  the  same  artistic  flavor  that  make  ‘ Round  my  House  ’ so  delightful ; by  the  same 
love  of  nature,  the  same  appreciation  of  the  beautiful,  the  same  refinement  that  mark  ‘The 
Unknown  River  ’ and  1 A Painter’s  Camp;  ’ and  there  are  not  wanting  evidences  of  the  wide 
reading,  the  proofs  of  culture  and  earnestness  that  are  conspicuous  in  ‘ Intellectual  Life.’  ” — 
Cincinnati , O.,  Times. 


MR.  HAMER  TON’S  WORKS. 


MODERN  FRENCHMEN.  Five  Biographies:  Victor  Jacque- 

mont,  Traveller  and  Naturalist;  Henri  Perrevve,  Ecclesiastic  and  Orator;  Francois 
Rude,  Sculptor;  Jean  Jacques  Ampere,  Historian,  Archaeologist,  and  Traveller; 
Henri  Regnault,  Painter  and  Patriot.  By  Philip  Gilbert  Hamerton.  Uni- 
form with  “ The  Intellectual  Life,”  &c.  Square  i2mo.  Price  $ 2.00 . 

“Philip  Gilbert  Hamerton  has  the  faculty  (not  common  to  all  authors)  of  making  every- 
thing he  touches  interesting.  Best  known  as  a writer  on  art,  his  works  upon  that  subject  have 
come  to  be  recognized  as  standards.  His  novels  and  essays  are  always  full  of  meat,  and  his 
works  generally  are  characterized  by  a fairness  and  impartiality  which  give  them  peculiar 
value.  His  latest  work,  ‘Modern  Frenchmen,’  is  made  up  of  five  biographies.”  — Boston 
Transcript. 

HUMAN  INTERCOURSE.  Square  i2mo.  Price  $2.00. 

“ He  has  the  art  of  presenting  to  our  minds  a hundred  paths  into  which  every  subject  opens. 
...  In  writing  about  ‘ Human  Intercourse,’  Mr.  Hamerton  has  the  always  significant  facts  of 
human  nature  to  deal  with,  — those  eternally  interesting  creatures,  men  and  women.  . . . 
Occasionally,  too,  there  are  sentences  that  suggest  by  their  felicity  the  rhythm  of  poetry.  Better 
than  all,  in  this,  as  in  every  one  of  Mr.  Hamerton’s  works,  we  feel  that  we  are  dealing  with 
a man  who,  besides  his  grace,  his  wit,  or  his  keen  observation,  is  alw'ays  on  the  side  of  simple 
truth  and  purity  of  living,  and  possesses  a high-minded  faith  in  the  power  of  the  Best,  and  a 
determination  to  aid  in  its  final  victory.  ” — Philadelphia  Press. 

LANDSCAPE.  Square  i2mo.  Price  $2.00. 

“ Mr.  Hamerton  in  sending  to  his  publishers,  Messrs.  Roberts  Brothers,  a complete  set  of 
proofs  for  the  library  edition,  says;  ‘ I have  done  all  in  my  power  to  make  “ Landscape”  a 
readable  book.  It  is  not  mere  letter-press  to  illustrations,  or  anything  of  the  kind,  but  a book 
which,  I hope,  anybody  who  takes  any  interest  in  landscape  vrauld  be  glad  to  possess/  . . . 
The  subject  is  treated  from  all  sides  which  have  any  contact  with  art  or  sentiment,  — from  the 
side  of  our  illusions  ; our  love  for  nature  ; the  power  of  nature  over  us  ; nature  as  subjective ; 
verbal  description,  ‘ word-painting ; ’ nature  as  reflected  by  Homer,  as  the  type  of  Greek 
nature-impression  ; by  Virgil  or  Latin,  Ariosto  or  Mediaeval ; then  as  studied  by  Wordsworth 
and  Lamartine,  as  types  of  English  and  French  ; from  its  relation  to  the  various  graphic  arts, 
its  characteristics  in  Great  Britain  and  in  France,  and  from  the  geography  of  beauty  and  art. 
Mountains  are  weighed  in  the  art  balances  ; lakes,  brooks,  rivulets,  and  rivers  in  their  degrees 
of  magnitude.  Then  man’s  work  on  rivers  and  their  use  in  art  are  considered ; then  trees, 
under  their  various  aspects ; then  the  effect  of  agriculture  on  landscape,  of  figures  and  animals, 
and  of  architecture.  ‘ The  two  immensities,’  sea  and  sky,  conclude.” — The  Nation. 


Mr.  Hamerton’s  Works  (not  including  “Etchers  and  Etching”) 
may  be  had  in  uniform  binding.  12  vols.  Square  i2mo.  Cloth, 
price  $24.00;  half  calf,  price  $48.00.  A cheaper  Edition,  12  vols., 
i6mo,  cloth,  Oxford  style,  $15.00;  cloth,  gilt,  $18.00. 

For  sale  by  all  booksellers . Mailed , post-paid, ' on  receipt  of  adver- 
tised price , by 

ROBERTS  BROTHERS,  Publishers, 

Boston. 


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